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Number 23's SOTT Deluxe Review Number 23 has just handed me his review of the first SOTT Vault CD - being the first Orger review, I think it deserves its own thread. So, without much further ado - here is his full text:
SOTT DELUXE Vault Disc 1
Hi, I got banned, but I’m not bitter. This deluxe edition could take the edge off most woes we experience - like I said before, it truly is an embarrassment of treasures. To think one guy spearheaded all this music, in all its myriad forms/genres, yet still managed to make it sound uniquely ‘him’ is unfathomable to a pretty average person like me. I can’t conceive of any other popular music artist quite as inspired, driven and talented as Prince Rogers Nelson. He’s constantly changing Picasso working within the popular music idiom, a Da Vinci who painted with sound. We all knew it, even when his stock was at an all time low in the late 90s we still knew, but finally the world will have to join us in our awe. This box set is undoubtedly the greatest compilation of music ever released under the banner ‘pop’. How can anything else compare?
This is not hyperbole - to think there’s also one of the greatest albums of all time on discs 1 and 2 is ridiculous - and when you realise the Michael Howe and The Estate could probably have filled another two or three CDs with the stuff that’s been overlooked for this release ... well. How can anything else compare?
This is a box set but there is no box that could contain P - they tried to build one, but when someone is this open and free and polymorphous and completely uninterested in standing still, normal rules don’t apply. Prince Rogers Nelson broke any mould the record industry - and, by turn, the wor;d, tried to suffocate him within. And when he had won the respect of every critic and every artist with SOTT and Lovesexy, when he was undoubtedly the most revered and respected musical artist in the world, what did he do? A natural born contrarian, an agent provocateur who likely saw his mission in life to simply challenge accepted wisdom, he did an 180 degree turn with a massive fuck you to those who would put him on a lofty pedestal of so-called ‘sophisticated’ high art … and did a Batman album. Les enfant terrible, as the French say.
Low brow, high brow, it was all the same to P - if it inspired him, he didn’t give a fuck what people thought. He listened to the voice inside. It’s all he could trust. It brought him from the back streets of north Minneapolis to superstardom. Throughout his entire career, people were judging him by their own limitations. Prince had to create his own reality/realities - the objective one was pretty dull and constrained for him I imagine. He must have felt like a prisoner to mundanity. He was, like Janelle Monae called him, a free motherfucker.
You probably skipped all that shite and just darted your eyes down to this bit. You made the right decision. Here are my - purely subjective - thoughts on CD1 of the three discs containing unreleased tracks. Many of you will disagree with me when you eventually hear it.And you’ll be right too, because everyone who is a Prince fan is right. We just disagree on the small print. But here it is, rattled out very quickly so forgive any poor spelling, bad grammar or just shit overwrought writing. It’s very raw. CD2 coming tomorrow night. Hope it whets your appetites.
We’ve all heard this by now and we all have our own opinions on whether the vocal is 79 or overdubbed in 80/81. For what it’s worth, I’m in the 80/81 camp. To me, it sounds like him experimenting with his chest voice for a potential grand reveal in the Dirty Mind album (I know, there’s the verse in JALAWT, but no-one ever talks about that) but it didn’t quite work. It’s certainly a similar timbre to the snotty/punky full voice in PartyUp, slightly more melodic but that’s likely why this would have stuck out like a sore thumb on DM - and P or C for that matter. It’s maybe just too PC for those records lol. Certainly too mature for those records in terms of theme - ‘I’ll sure as hell try!’ aside. One he threw in the Vault, yet he clearly recognised its depth and quality to dig it out seven years later when he had hundreds of incredible new songs to choose from. To me, that’s pretty fascinating in itself. He didn’t make albums, he made moods. Past, present and future was all happening at once for Prince. Like the universe itself.
2. “Teacher, Teacher (1985 version)” Prince tossing W & L vault tracks to see what they can layer on there, to see if they can reveal something else in the lyric and mood he couldn’t himself. Surprise me! he probably said in his Jamie Starr voice before strutting off to the club. And this is undoubtedly a successful example of W&L’s whimsical, pallette-swimming, shimmering skewed harmonic sweet/sour cold/warm duality complementing a P skeletal groove and base melody. It loses some of the edge of the original however, by having the girls’ harmony outweigh P’s male vocal - a boy being seduced by a teacher is more interesting and less conventional than the played-out male teacher/female pupils scenario. Not many male writers put themselves in a submissive position lyrically. But musically, compared to the original, the outro’s closing ‘release’ harmony suffers slightly too (P’s nah nah nah - nah nah nah - then his huge harmony vocal wave). It, to me, was far more exhilarating when the song was rawer and it was more prominent in the mix. What provides the emotional release on the original 1999 deluxe release loses something here and the song simply peters out to the fade. To me - you might, and likely do, disagree. Still a great, full mid-80s flowery ruffled-up Revolution vibe though.
3. “All My Dreams” Undoubtedly, for me, a Prince career highlight and something I always played non or casual fans as evidence of a unfathomably huge mountain of work being produced and compiled behind the scenes. There’s slight added musical elements at the beginning of this version - like tinkling on a pipe with a toffee hammer - accompanying a very slightly longer intro than we’re used to. Apart from that however, it’s the same song that already leaked in pretty good quality many moons ago. Whoever’s working on the master tapes has, to my ears, done a impeccable job bringing out the depth of the acoustic bass and W&L’s etherial, tangental high-end harmonies sparkle, a Northern Lights glow shining and morphing over the entire weird landscape of this magical, indefinable track. The meandering interlude where a distorted, disguised deep-voiced Prince takes his time describes how he is going to fuck someone all night long is hilarious and out there - even with the dodgy submarine metaphor. ‘You can feel every curve, he moans’ - you certainly can if he’s talking about the song’s clarity and fidelity. It sounds fresh as a daisy, timeless, magisterial. A genius at the height of his powers, who believed he could do anything. The jazzy walking bass in the second act of the interlude - when the train whistle appears - truly suggests a journey beginning, or maybe a relationship (marry me today and tonight we’ll make love till the world stops turning’ ‘gentle, but quickly’. Then, and we all know the monent, it turns around with a huge single drum hit then those exhilarating joy fantastic closing harmonies kick in from W&L: ‘Ahhhhhhh ahhhhhhhhh’ before expelling a starsailing farewell with that magical, forever spine-shivering chorus. ‘Goodness will guide us if love is inside us! No child’s a failure until the blue sailboat sails him away from his dreams! Don’t ever lose your dreams!’
4. “Can I Play With U?” (featuring Miles Davis) For years we had this at completely the wrong speed. And I must say, I preferred it at a faster tempo. It kicks in with a staccato groove that never really locks in - to me - and the idea of having the song’s chorus as simply a build-up to a horn and guitar freak out only works out if it’s a true crazed freak out. It sounds pretty sedate and controlled to me. It’s good and it’s funky, but more time could have been spent on it. It should be wilder, to my ears. And maybe if Miles had been in the studio with him it would have been - Christ, Miles sounds great. Those alien bursts, like frequencies from another galaxy. But then - the song suddenly finds its groove with a weird funky bee bop style instrumental break - then a classic P scream. Now, he’s experimenting with vocal timbres - it comes alive, he’s found The Zone. Miles also seems to be getting the groove - then, suddenly, this fevered dream ends and we float back down to earth with a lighter groove. Until, a multitracked P ‘Oooooooh - can I play with you?’ leads into some astonishing jazz influenced guitar soloing, power bebop grooves … building up to something continually, yet teasing away from it. Funky as fuck guitar, deep funk slap pluck bass enters the mix, drums start getting wilder, everything builds sinisterly, back to a nighttime groove, Iggy ‘I live under glass vibe’, then Prince rap-sings a funky ‘Darlin if u follow me home, this brother gone rob ya house! Get on the dancefloor - baybbaybayabayabababababababababay … can I play wit you?’ A massive scream and suddenly you think it’s one of the best things he’s ever done. And that’s why you should never give up on a P song - sometimes he’s just getting started.
5. “Wonderful Day (original version)” Purely P. No L&W. The same groove without some of the more colourful, breezy, flower power elements. P rap sings the verses quickly - similar lyrics to W&L overdub version, but different. P delivers it more angsty, less playful, harder - ‘You lose your hunger or your friends/Nevertheless, it’s a wonderful day’ Similar to Play In The Sunshine in theme. P saying he doesn't need anyone to feel great about life. He’s fine alone. The frantic, angsty mood suggests different. Drums and bass are so in the pocket it’s outrageous. The ‘bop a bop bop’ hook is infectious. But it gets even more intense. There’s genuine angst here. This day suddenly doesn’t sound so wonderful - that bass isn’t painting happiness. ‘Nevertheless!’ he shouts - then big major piano chords start to jar with the groove - think we’re meant to feel unsettled by them. A long instrumental them leads to the outdo coda ‘Every get down on the one!’ he shouts, a party of one, ‘It’s a wonderful day’ he falsettos at the end. Not convinced it was, but the artistic result is top tier, raw oddness.
6. “Strange Relationship (original version)” Again, no L&W, on vocals anyway. I’m guessing they dabbling with the Fairlight’s sitar settings and Jonathan Coleman is contributing to the vibe too. I’ve not heard the original W&L boot for a while and haven’t directly compared it, but it’s definitely different to my ears - groovier. Funkier - deeper. Which makes that exhilarating chorus all the (bitter)sweeter when it kicks in. Middle eastern instrumentation definitely adds depth and wooziness to the verses, but that damn chorus slices open the white gut of pure pop and bleeds stardust. A Fairlight experiment that works wonderfully - would still love to hear the ‘real’ raw original from ’82 though. This is a sickening funfair ride of a tune, a woozy distortion of a toxic relationship - an overdose on joy now making him feel sick, he's been on the rollercoaster too long. The end coda though, sounds very different to previous versions- a weird Germanic, teutonic vibe with an interesting vocalisation ‘Ayyyy’ repeated by P, sounds like it was fed through a Big Muff pedal. Then the timbale groove and sitar drone takes it bellydancing to the end. The ‘Yeah yeah’ outdo coda is extremely distorted in the background in this version - much more to the fore in the original album. A thing of wonder, still. Then, the groove kicks in again - just when the album version ends. This now grooves on, with a new deep oddness, with the main melody appearing once more to anchor everything to Earth. It’s wonderful, he grooves the fuck out it. You wish it would last forever. It then ends suddenly on a really unexpected chord, with sci-fi noises winding down as the mothership lands. A trip.
7. “Visions” Wonderful. Most of us are already familiar with this, but to me it sounds like snow piling up at a window as an old man inside dies while thinking of his youth. Those playful little notes at the end Lisa adds, the bit where you think it’s going somewhere else, but then it gets real down and blue….then ends. Like all things do. Before they really gets started. But anting any more is simply greed, it’s perfect.
8. “The Ballad Of Dorothy Parker (with horns)” Of course, the song’s perfect without the horns - but I’m digging them. They make the whole thing swing more, make it less of a curio, not as obtuse, roots it in what we know and accept as r&b. It makes it more conventional - and that’s not always a bad thing. It’s a different vibe - not preferable - but welcome, freshens up this tune we’re probably all listened to too much. Eric mutes his sounds, they’re complementary, playful, and sometimes at odds with the main melody but he and P always end up in the same place in the groove. Whether Prince played some of these lines to him on a synth first we’ll likely never know, but I just doubt all of this was improvised on the spot. It’s too concise. And the horns are all the way though. There’s a little lick he does at the ‘my pants were wet’ that’s beautiful and playful - humourous, Eric gets the lyric, he doesn't get in its way. Or tries not to. The outro coda, Eric plays along with the ‘Weeeeeeeel’ with some shimmery warm blasts, but where we get to where the original song ends … it doesn’t. It keeps going past the fade…keeping that groove going with Eric feeding it and vining on it … the song doesn't go anywhere else, but it doesn't need to. It’s the mood that prevails. The drum machine layers more syncopated beats, building, then Eric plays us out. A little organ from P and it’s over.
9. “Witness 4 The Prosecution (version 1)” Again, some of us have been familiar with this for long, long time. It’s a revivalist rootsy stomp thats heavy, woozy and groovy. Pure Sly. Yet, for me .. P’s voice is slightly too nasally here to pull off the huge courtroom gospel he’s attempting. The Family Stone groove and drums are fantastic, the guitar squeals would melt your face off, but to me it slightly lacks … something. I’m nodding my head constantly listening to it, and I dig the W&L ‘WITNESS!’ embellishment to P’s original, but something’s slightly missing. Those fucking drums though. And the guitar solo at the end …as low as it is in the mix… is as good as it gets for these types of P grooves. ‘In this love AFFAIR!’ at the end where it builds to a crescendo that kind of just overlaps into the ‘witnesss’ choral voices is wonderful. I dunno. It’ll probably be one of my faves in five years, thats how it works with P isn’t it?
10. “Power Fantastic (live in studio)” Like in the podcast, we hear Prince’s extended instructions to the band. This song was intimate enough without this added drama and tension. ‘Just trip - there are no mistakes. Play anything you want. Go with it. Whatever you want Lisa’ And she does. Then Eric on flute, then Atlanta Bliss, then Bobby Z’s cymbals, drum rolls, everyone moving towards some unknown, mysterious destination. The flute gets wild, the drums pound atonally and unrhythmically, then…it gets quiet. Real quiet. Then ... that descending piano motif enters … leading into one of P’s best ever songs. It’s the Power Fantastic we’re all familiar with a completely new vocal - not too different from the studio take, but with differing melody choices and a rawer falsetto lacking the reverb of the studio overdub. But it’s one that’s more nimble, playful yet experimental than the etherial, showstopping performance we all know. If this is a first take - and it clearly is as we hear him guide the band through ‘bridge’ etc, then bloody hell - the follow up tour to Parade with this band could have been even more extraordinary than SOTT. It sounds like an eternal 4am, the ‘lonely cold’, someone in pain but finding strength in something indescribable, invisible, but there …faith? In God or himself? It doesn’t matter. This is church music - notes finding beauty in the depths of despair, enduring a night where the sun might not rise. ‘Keep soloing’ he says to Eric on the flute. ‘Change’ - then we hear the final chorus. ‘What it is, is what you want and need’. Somehow - this ‘Counter Revolution’ band captured the sound of beautiful, enduring agony in P’s head. ‘Ending’ he says. We hear Lisa’s final descending notes, that stunning coda, where the last note takes ten seconds to ring out. Then, ‘Good. Come in.’ We realise P has been singing it himself with the band elsewhere, individually mic-ed up and, as he always really was, alone.
11. “And That Says What?” More manic than Madhouse’s most fevered tunes but familiar sound territory to those familiar with those records. A wild sax solo changes up the groove about a minute in and it’s a head-bopper from then on, great in the pocket drumming from P (has to be him, all his traits). Then it grooves with itself for the final minute with some dramatic chord changes, back to the groove, last flourish and it’s over. Too soon.
12. “Love And Sex” Same song as Sheila’s - I think a poor quality version of this leaked recently. The guitar is a lot more prominent in this mix. A sensual falsetto verse melody is propelled forward by huge power chords and stunning multitracked vocals - then the power wave of a chorus. A topsy turvy thing, this serpentine melody, ‘My legs go weak, it’s hard to speak’ again trying to capture the wooziness of new love. ‘Check me out!’ he shouts. ‘I’ll be speaking my mind!Girls should be girls in a grown up world!’ It’s a huge chorus, a potential hit in waiting - perhaps too conventional for P at the time, and he wouldn’t want to be defined by it. ‘I’m under your hex, all I want is your love and sex’ A guitar solo exhilarates but he doesn't do the cheesy thing and move it up a key, he just layers on the vocals in the multitrack for a final huge chorus. The drums become more prominent in the outro, huge cymbal splashes, maybe Sheila. Ends with ‘sex sex sex sex’ multitrack and some lovely percussion sounds.
13. “A Place In Heaven (Prince vocal)” I’ve always loved this one since the old Deposition boot and hearing it in this fidelity with the pitter patter drums and childlike tinkles is just candy for the ears. In this era, it seemed P liked to write songs about feeling suicidal juxtaposing the darkness with these nursery rhyme melodies (Wednesday etc) and it’s beautiful. P telling someone not to embrace the darkness, that it’s only perception - you make your own reality. To forget the horror of a world adults have created, to revert how to we were as children. To be naive, to embrace the wonder of the fact that we are on a floating rock circling round a nuclear furnace in the middle of infinity. So ‘let’s not be lazy’ - you get one chance to be a star in this universe. Heaven is in your head. a place on Earth, a Belinda put it. And now, officially, P.
14. “Colors” This brief guitar instrumental was supposed to lean into ICNTPOYM, I think, on one of the Dream Factory tracklists. It’s great, but is it Wendy? Could be, to these ears. I have no linear notes.
15. “Crystal Ball (7” mix)” No intro to build tension and mood - it just launches right into ‘Exert lover, my baby - ever had a crystal ball?’ That spindling, winding baseline - playing with your head, teasing with foreboding … otherness. Something’s on the way and its not good. The strings wash in as P suggests making love, sweetening the darkness of the groove but queasily, off-kilter. A rattle goes off. Found sounds appear and disappear. Time is running out, clearly. Susannah harmonises beautifully ‘oh oh oh oh oooo’ leading into ‘dear jesus save us’. Again, something is coming. The end is nigh. Prince gets flummoxed by his girl painting erotic images as all hell is breaking loose - if you could see the future would you try?, he asks her, freaking out. Would you look inside a crystal ball? Would you want to know your fate? How it ends? What would it change? Doesn;t the fact we don;t know the future drive us to do everything we do? Of course, the crystal ball is a metaphor for sex too, but Prince seems to be asking - let’s just stay in this moment. Let’s not worry about how it ends. Horror is all around. We are surrounded by pain and anguish. But you and I are here, so let’s connect through sex and not die alone. Anyway. This take is simply the first three minutes of the original boot, Clare’s there in full, as are Susannah’s harmonies. It’s still as deeply haunting as it ever was, even without the other three acts that make it such an epic on Crystal Ball 1997. This is more intimate, and moving as a result. Never thought it would work as a three minute edit, but Christ, to these ears it could have been a bold single. Doubt WB would have agreed, though.
16. “Big Tall Wall (version 1)” The mad, whirling, pumping colourful chaos of this first version of Big Tall Wall reminds me of the first version of ‘Guitar’ - in a good way lol. A laid-back vocal, cool mid-60s McCartney bass groove - call completely wiped from the boot version we know. Everything is different, even the verse lyrics. It meanders off on a jazzy, psychedelic groove with a huge drum sound, fucking hell this is alien funk, the shit we all love from the guy and this era. Bizarre instrumentation appears. Lyrics completely different to what we know, except for the chorus. Less obsessive and dark. But still on the theme of complete possession. The keyboard line from Shake! is in there too as a main hook that drives the song along ... or a variation of it. It’s actually a bit like that ‘Hot Summer’ tune, the little motif, not the actual song! Spindling sitars and deep psychedelic groove at end. Actually it wasn’t the end, and now it’s gone really out there - working up the scales, timbales now added - deep Middle Eastern vibe. ‘True love is what it’s all about’ as a repeated motif at the end works well on top of an Indian vibe. Then we go full Tomorrow Never Knows. Huge instrumental groove with added organ takes us to the end, breaks down to just the drum machine and Prince repeating ‘big tall wall’. Live drums appear then it explodes, again, into a thing of wonder - weird found sounds, a shimmering drone of the sitar takes over, the drums kick in the bass grows fat in the mix … taking us somewhere Prince has never led us before. Astonishing in comparison to the -great- version we’re familiar with. It’s like the boot we know is the negative exposure of this. An evil twin, stripped of everything that makes this version work. Much like the two Forever in My Lifes duality, one warm and playful and the other dark and foreboding. He stripped the joy out of these two songs for the ‘finished’ versions we know. He clearly wanted Susannah to know how she left him feeling. Empty. Devoid of colour. The kitchen sink is thrown at this version, countless colours and shades. It’ll be hard to exhaust this tune, so much going on harmonically, rhythmically and melodically. Lot of fans are going to be very surprised.
17. “Nevaeh Ni Ecalp A” I haven’t played it backwards yet but I’m assuming it’s Lisa and Wendy re-singing APIH with a mid harmony and a high harmony over backwards organ. Only comparable thing is the alien backwards gospel after Darling Nikki. It’s quite beautiful, W&L’s voices utterly complementing each other as usual, but this is heading to a place beyond the stars, unknown territory. Vocally, it sounds a bit like the Trio Bulkarga on Kate Bushes’s late 80s records, deeply otherworldly, like the plains between life and death, not of this life. Unsettling sound effects, weird drum sounds usher in from the foggy distance - it’s certainly not APIH’s music backwards. Forboding build-up and static similar to Theres Others here With Us. An odd keyboard at the end that sounds like resolution - the word not the song. It’s haunting and utterly unlike anything in P’s catalogue. If it was all W&L, my hat is doffed.
18. “In A Large Room With No Light” Welcome to the rat race! Well, that’s what I once thought this astonishing work was called. And he definitely doesn’t say ‘holding a dick’ either. Again, like A Place In Heaven and other DF songs, lyrically, it’s Prince telling us there’s hope. In the darkness, there is light. I think Eric Leeds once said this song was peak Revolution, sounding like it was beamed in from the fourth dimension. But I think the underlying rhythm earths it, anchors the madness, that base Latin groove perfectly chiming and accentuating the multilayered oddites of sonic possibility, wildly unexpected vocal layers, that exhilarating golden chorus and, of course, that intimidating outdo coda of ‘Liiiiiiiiiiiight’ ‘Liiiiiiiiiigiiiiiiiiiiiht’ reminds us that this world truly is dark and troubled, but that embarking on any journey with some untangible, unknown ‘liiiiiiiiiight’ as its possible destination is worth all the pain existence and human consciousness brings. Thank you Prince. Thank you Revolution. And thank you for reading and enduring this vomitribe. Back with CD2 tomorrow if anyone fancies it.
[Edited 9/13/20 19:17pm] |
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we love number 23. tell him lustmealways loves him. |
Interesting. My interest is heightened. Having to wait until the 25th is killing me, though. |
Legend! |
I ain't listening to nothin' until it's in my hands... "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 |
Holy shit, I am even more excited for this release now. Thanks for the write-up! |
Thanks for taking the time to write all that out. "That's when stars collide. When there's space for what u want, and ur heart is open wide." |
Great review! |
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Transformed1 said: Great review! A fantastic review |
christobole said: Number 23 has just handed me his review of the first SOTT Vault CD - being the first Orger review, I think it deserves its own thread. So, without much further ado - here is his full text:
SOTT DELUXE Vault Disc 1
Hi, I got banned, but I’m not bitter. This deluxe edition could take the edge off most woes we experience - like I said before, it truly is an embarrassment of treasures. To think one guy spearheaded all this music, in all its myriad forms/genres, yet still managed to make it sound uniquely ‘him’ is unfathomable to a pretty average person like me. you for reading and enduring this vomitribe.
Back with CD2 tomorrow if anyone fancies it.
[Edited 9/13/20 19:17pm] One man didn’t do it alone. Still amazing, but he had a lot of confirmed help. |
"Past, present and future was all happening at once for Prince." This was my favorite line of your review. Excellent job by the way! Thank you This is a good thing and a bad thing, Yes, being a genius control freak, Prince manifested his dreams. From day 1, with "For You". Albums nearly every year his music career. But I wonder just how much direction Prince was able to take from others. Maybe one day they'll release songs in the Vault attesting to him working with other artists. Has he ever been part of a song where he's not the producer? I wonder if someone other than his protegees could have inspired and directed him in a different direction. I didn't better or worse. Just a different direction. I'm not questioning his superstardom, success at being a multimillionaire at such a young age, but I do wonder if it his control was a blessing and a curse. Can't wait for the album!
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Thank you for the review. Waiting for next cds. |
Thank you for this! Lovely read and can't wait to hear them here at home The HQ-er formerly known as krokostimpy. |
Thanks 23 |
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Why was Number23 banned? NPG Radio:
https://open.spotify.com/...63VlWY6m1A |
This review is great. Thanks for taking the time to do this. You've got me even more hyped. I've never more more excited about a release before. I just know I'm going to absolutely love this box set. |
BlueShakooo said: Why was Number23 banned? Yes Why? Why ban someone we all want to hear from and writes so brilliantly. |
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I think one of the moderators didnt like being told he was wrong when it came to his comments about the Deluxe Edition being brickwalled on Tidal.
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Does Nevaeh ni ecalp a have the spoken bits we're all used to from the DF boots (witness! shout, welcome to Hollyrock, you're just in time, the club entry chat from W&L) on it or is it an entirely different take? [Edited 9/14/20 2:22am] |
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simon1969 said:
I think one of the moderators didnt like being told he was wrong when it came to his comments about the Deluxe Edition being brickwalled on Tidal.
Oh, okay. Thanks Simon1969, NPG Radio:
https://open.spotify.com/...63VlWY6m1A |
I really hope we still get the reviews of disc 2 and 3. Seems to me number 23 and Kares have both been treated unfairly. I think Miltant really should make a public apology to Bernie and make it clear he was not listening to the remaster. Also I think his position as a moderator should be seriously questioned. On another board (non Prince) there were people considering cancelling or not get the remaster. These seem to be casual fans just wanting the original album. |
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I tried to find the thread, that seems to have caused Number23's ban. Couldn't find it, so I wanted to search via Militant's latest posts. But Militant seems to be gone, too. NPG Radio:
https://open.spotify.com/...63VlWY6m1A |
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Thanx 4 this review Number23....very informative...not like other big head buzzing the air ...it's so easy to use his little power ....Nazi Attitude....this is his stuff pfff [Edited 9/14/20 4:21am] |
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great review. |
If that's the case, can another mod lift the ban? "I like to watch." |
He changed his name from Militant to Casey Rain. [Edited 9/14/20 4:53am] |
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PennyPurple said:
He changed his name from Militant to Casey Rain. [Edited 9/14/20 4:53am] Oh. Thanks, PennyPurple! NPG Radio:
https://open.spotify.com/...63VlWY6m1A |
Free Kares. Free Number23 It is so sad. I know the people who have been around forever (Neversin, databank, Bart and the others we all know). There have been too many semi-trolling posts. And also a lot of opinions from people who were not born.or very young when the actual events occurred. It's great to have younger fans but there needs to be respect shown to those who know this and lived this. Can we please bring back some civility to the org. A focus on music. Less gossip related posts, less hypotheticsls This place used to be about Prince and music. Please can it be so again. |
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Thanks Number23 and thanks cristobole for serving as middle man. Loving these reviews, they're written with such enthusiasm - perfect for tiding me over until the 25th! With that I'm now really excited to hear the original Big Tall wall and Nevaeh Ni Ecalp (also curious whether it includes Prince's spoken word and the guitar solo a la the shortened Dream Factory segue version). Hundalasiliah! |
Bring on more reviews.  |
thisisreece said: Thanks Number23 and thanks cristobole for serving as middle man. Loving these reviews, they're written with such enthusiasm - perfect for tiding me over until the 25th! With that I'm now really excited to hear the original Big Tall wall and Nevaeh Ni Ecalp (also curious whether it includes Prince's spoken word and the guitar solo a la the shortened Dream Factory segue version). After hearing the snippet and reading number23's description of Big Tall Wall 1, it is now my most anticipated song on the set. |
I'd encourage anyone who has issues with the 23 ban to go to this thread and complain directly to Ben. I just did, and I read others who had done so via org.notes privately. Of course, that's their prerogative. But, I think the effect is moreso with posting directly on the thread for the sake of transparency and so others will know exactly how we feel about it. Just a recommendation. Thanks. |
That thread was deleted. RIP  |
Who the hell reads that forum? RIP |
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Welcome to "the org", laytonian… come bathe with me. |
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. I have been waiting decades to have a real, officially-released version of this song in my collection, and hands, and ears. And it's almost here. SQUEEEEAL! |
Romeoblu said: thisisreece said: Thanks Number23 and thanks cristobole for serving as middle man. Loving these reviews, they're written with such enthusiasm - perfect for tiding me over until the 25th! With that I'm now really excited to hear the original Big Tall wall and Nevaeh Ni Ecalp (also curious whether it includes Prince's spoken word and the guitar solo a la the shortened Dream Factory segue version). After hearing the snippet and reading number23's description of Big Tall Wall 1, it is now my most anticipated song on the set. Honestly same! I have always loved the version we had. But then the snippet blew me away because the tone is so very different. 23's review further blew my brains out. Obviously I am super excited for every bit of it. But Big Tall Wall is right at the top for me along with Prince's eggplant and wonderful day |
LoveGalore said: Romeoblu said: After hearing the snippet and reading number23's description of Big Tall Wall 1, it is now my most anticipated song on the set. Honestly same! I have always loved the version we had. But then the snippet blew me away because the tone is so very different. 23's review further blew my brains out. Obviously I am super excited for every bit of it. But Big Tall Wall is right at the top for me along with Prince's eggplant and wonderful day I think Love and Sex will also be awesome. I hope we get a review of Vault disc 2 and 3. |
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b/c of this super review, I went back and listened to the Can I Play With U track. Like so many other unreleased songs, I knew it enough to sing but not enough to know the bass/guitar playing. I'm amazed now at how good this is. I can not believe he held this one back...it is so Princeish....so odd in that wonderful way. |
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Why did Number23 get banned? For writing a review? "  don’t really care so much what people say about me because it is a reflection of who they r." |
TrivialPursuit said: Why did Number23 get banned? For writing a review? Looks like he high fived a scathing comment by Kares and Casey, the target of said critique, said oh no they betta don't. |
I'm dying... |
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" don’t really care so much what people say about me because it is a reflection of who they r." |
TrivialPursuit said:
I'm getting strong Phi Phi O'hara ("That thing shouldn't BE HERE.") vibes, lol. |
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LMAO the main thread is gone |
lustmealways said: LMAO the main thread is gone If I never see u again, thanks for everything. |
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. After deleting my only message criticizing the moderation, BTW. |
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i thought it was hilarious that, in a sea of criticism, yours was the only one that got deleted. |
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Let's keep this awesome review thread on topic folks instead of derailing it. move on. Thanks 
Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
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I've been informed, that Number 23's second installment may be coming today!!! |
luv4u said: Let's keep this awesome review thread on topic folks instead of derailing it. move on. Thanks Excellent idea. Shame the reviewer himself can’t post them. Wonder why that is. [Edited 9/14/20 13:21pm] "Like the drummer said, you got to die." |
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Looking forward to it
Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
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[Edited 9/14/20 13:26pm] |
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Tell him to give it a title. I'd suggest "How I wrote THE WORLD'S FIRST review of SOTT Deluxe". People will understand... |
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Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
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` [Edited 9/14/20 13:55pm] |
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Try not to derail Number23's thread.
Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
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. I know, it was a second person plural. Generic for moderators. Sorry for the misunderstanding. Back in topic.
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luv4u said:
Looking forward to it Can not wait. |
Marco81 said:
Tell him to give it a title. I'd suggest "How I wrote THE WORLD'S FIRST review of SOTT Deluxe". People will understand... I love that title In fact his review is so much better than the worlds first review of 3121. Eagerly awaiting part 2. |
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Thank you christobole to do 'the work'. - But mostly thank YOU Number 23 ! - It's as if I can hear the music by the way you discribe it without hearing it. I haven't heard it yet. - I really appreciate your wit, and mostly the way you use a wide range of colours and emotions to make the unheard music understood in words. Poetic even. Thank. You. - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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[Off topic - luv4u] |
"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 |
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Number 23 has written up reviews for the first seven songs on Vault Disc 2 - the complete disc review will be posted in a few hours! |
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Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
Thanks for posting, christobole, and thanks for writing, Number23! You have a gift with words. Your descriptions paint these songs in such bold relief and it is a treat to read them! You are certainly adding to the excitement of this release! It’s great to see passion for his music coming through so clearly, and it’s much-needed in Prince world. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
Thanks for the great review, looking forward to the second one. Hopefully Number23 can post himself in a not too distant future... |
VOTE....EARLY |
Romeoblu said: Marco81 said:
Tell him to give it a title. I'd suggest "How I wrote THE WORLD'S FIRST review of SOTT Deluxe". People will understand... I love that title In fact his review is so much better than the worlds first review of 3121. Eagerly awaiting part 2. :falloff: "That's when stars collide. When there's space for what u want, and ur heart is open wide." |
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CD5 / LP7&8: Vault, Part 2 1. “Train” ‘Wooo woooo!’ An extremely on-the-nose visual metaphor about the distance between two people increasing, ‘getting farther away’ as P puts it here, the whimsical yet chugging, full sonic palette of Train certainly sounds like Lisa and Wendy have had their paintbrushes out again. But it’s almost entirely a Prince creation, with Eric and Atlanta Bliss stabbing out the odd, syncopated horn blast to keep the, yes, train-a-chugging, steam-a-blowing, rootin' tootin' rhythm ‘on track’, if you pardon the pun. Two hookline guitar notes ring out to signal the approaching chorus (on a spiky bed of deep fuzz tone distorted riffs buried deep in the mix in the verses) all deeply reverbed, carrying the train’s forward motion, while the drums emulate the wooden railtracks juddering past like the Bee Gee’s Night Fever rhythm track. Prince pulls off a stunningly evocative backbeat here, and if you ignore everything else - the stunning three-part harmonies, the joyous melody gorgeously yet bloodily chaffing against the bittersweet lyrics, grinding onward in motion - and just listen to song’s foundation layer, Prince somehow makes it sound so easy to sonically recreate the notion of movement. But it surely isn’t - and certainly not to achieve it as evocatively as this. On headphones, the clarity of the vocal weaving and multilayered harmonies is simply jaw-dropping. ‘If you don't love me anymore/I don’t know what to say’. So he lets the music do the talking. The sonic palette undoubtedly achieves it goal of making the listener feel like they could be waving their hat at loved ones pulling out of the station in a cloud of steam, or perhaps sleeping in a straw-covered and shit-stained cargo carriage with some sex offender hobos. It’s far, far away from ‘for real’ country music - deliberately so, perhaps intending the direct opposite of ‘gritty low-fi confessional’, but lyrically, he’s clearly parodying country or Woodie Guthrie-esque travelling cowboy lyrics - trains, leaving towns, lost loves, even going to Santa Fe! - telling his girl if she wants to get on the train and leave him, she can. He won’t stand in her way. No tears here, just like Towns van Sant’s take-it-on-the-chin confessionals. The music, however, is not grounded in any Americana roots revivalism - it’s pure mid-80s paisley kaleidoscopic pop perfection - perhaps P experimenting to see if he could do this sort of thing without W&L’s input. I’m speculating, but if it was intended for Dream Factory yet has no input from the girls, it seems true to P’s personality to have a ‘I’ll show them’ tune on there. Surely, when they heard it for the first time, they must have known their days were numbered. He’d fully absorbed them. Prince, like, um, Jeffery Epstein, ‘collected people’. Similar to Freddie Kruger at the end of Nightmare on Elm Street 3, when his jumper gets ripped off, we see a lot of souls trapped inside his body, absorbed throughout the years to make their host the most unimaginably powerful being in existence. ‘Come on man, get your bags.’ The train grinding to halt, but not before a final ’Woooo wooooo!’. The journey’s over.
2. “It Ain’t Over ‘Til The Fat Lady Sings” Is this just a Broadway-style instrumental show tune intended for The Dawn musical then discarded when the idea evolved/devolved from the stage to the, ahem, ‘movie’ Graffiti Bridge? Before you shout at Alexa to skip this one, be aware many treasures lie under the somewhat crusty surface if you spend some time chipping away. What is actually unfolding here is a rope-a-dope, far from some bland Broadway-mimicing background fluff, this is actually a carnivorously woozy, exhausted clown of a mood, achingly melancholy, Wagner on Valium - a soundtrack to a possible future reality, playing out as the last star in the universe finally burns out, watched by the painted eyes of a circus troupe who travel from galaxy to galaxy in search of a willing audience, spiralling tragically throughout the cosmos by way of elephant-shaped folds in spacetime, protected by a shimmering bubble made of bells and sawdust, and held together by dogs’ tears. You can hear them barking in the background. Rhythmically, of course, La La Laa Hee Hee Hee foreshadowed. This is Prince orchestrating the end of all things and the ridiculousness of existence and consciousness to a controlled jazz freak out mid-section, before the main melody lurches back into view, magic sprung from the wand of a dying, broken ringmaster magician, composing a staggering last gasp, a final shot at immortality through art - a nauseous, climbing, reaching, grasping melody that continually comes close to collapsing upon itself and threatens to go supernova, yet manages to find its feet again at the end of each musical phrasing. A drunk acrobat dances, a strongman falls out his wheelchair, carnival colours are sucked into the vacuum of an eternal darkness as all existence ends in a black deep freeze, time frozen inside time, the mathematical gas that came together to create everything all dissipated. All that’s left in existence is the circus ring and its performers, as we hear the final bars of this song accompaning their end, all all our ends, to the very end, as the last colours ever seen as the final star blinks out bleed out through the sawdust and horse shit and flood the universe … seeding it again. This is reality as a cosmic joke, beginning endlessly. Or it might just be P experimenting with Broadway dynamics and failing, Christ knows. I get a universe from it though.
3. “Eggplant (Prince vocal)” If there was ever any doubt, it’s 100 percent Prince on this version of Eggplant. Not only the voice, but everything - except for a welcome late appearance by the ever-reliable and always good-to-fuckin-go Eric Leeds. So, a one-man creation, another mutant groove for the pile, later handed over to Lisa and Wendy to see what they could paint with their brushes on the side of this particular train. Verse lyrics are identical to the leak from a few years ago - it’s Prince adopting the persona of a woman over a machine-like, new wave, almost Germanic industrial, intense and odd groove, advising a man who is continually shagging great looking girls with no brains that his empty actions will eventually make him as dumb as them. ‘Oh what a drag’ is a great pre-choral vocal hook - seeing Prince is essentially in drag here. ‘Oh what a double drag’ he says second time around, as he converses with himself as two females. Genuinely funny, smart and self-deprecating. Prince keeps advising himself, again rather amusingly, that connection and conversation are what really matters. Not ‘fluffy poodles’ - although that particular lyric is sadly missing here. Wendy and P going at it remains the preserve of the leak. This version gets darker in groove and lyric - I doubt he’d ever have put this out in the 80s, just doubt he would never want to be defined by something so oddly and outstandingly camp when he was still cultivating the mysterious sex god funk genius personna. ‘You married an eggplant - now what then?’ he asks. Then, some seriously heavy guitar kicks in, Prince screams, shouts, horns enter and a huge nursery rhyme layer of icing is smothered on top of this Germanic oddness. Then, a breakdown cuts through the fog so we can hear that outrageous, European-sounding machine rhythm clearly. Then, some mad, drunken builder with a jackhammer, evoking the image of Fraggle Rock if Trent Reznor directed it. Seriously, if you thought ‘If A Girl Calls, Don’t Hang Up’ was P’s peak take on exaggerated female voices, wait until you hear this. He really was a funny, freaky, odd little fucker. Very different to the W&L boot - like I mentioned, intense screaming bits, cool synth solo, horn break, haunted house piano, he’s playing around with found sounds, really interesting stuff. It’s superior to the overdone W&L-added version - to my ears anyway. No ‘that’s retarded’ lyric either. Again, the Teutonic beat is to the fore, a Germanic influence showing through, quite Can or Neu! Interesting that it’s now clear what W&L added to it and what P originally took to them. Great Eric solo at the end too. Actually, this is a fucking astonishing Eric solo! Then something really odd happens to it - the production of the sax gets outrageously rich and reverbed, and to these ears, sounds very similar - in tone - to the solo at the end of Lou Reed’s Walk On The Wild Side. It’s a ‘street’ solo, rich, lamentful but groovy - an old pimp showing you his gold teeth. Still got it baby. Changes the vibe dramatically, makes it deeper, odder, alien - then, it’s over. All too soon.
4. “Everybody Want What They Don’t Got” Prince’s bipolar, manic tendencies have rarely been more prevalent than on Sunday, 13 July 1986. The location: Sunset Sound in Hollywood. The present parties - just Prince and Susan Rodgers. First, P and Susan recorded The Cross. One of his ‘Sunday songs’ as she called his more quasi-religious, solemn and portentous works. Clearly a heavy exhalation of creativity, once The Cross was on tape, Prince must have felt a sorbet of sorts was in order to up the vibe - immediately recording one of his most Beatlesque, playful and sonically trippy songs ever in this marathon studio session. Identical to the version that leaked several years ago - with perhaps a few more embellishments, I haven’t compared them yet but it does sound slightly ‘fuller’ than the previous - still busy - mix. There is a clear sonic enhancement, however - the drums snap like cracked dinosaur eggs, those simple piano notes carrying the root melody of the song pound like a demented sea shanty, that lovely warm creamy two chord synth wave punctuating the end of each verse, those delicious multitrack cartoon harmonies - and after each verse, the groove stops, Prince goes ‘ohhhhh’, lets the song breathe for a millisecond, then launches into the jaunty verse again. The song has no chorus as such, the whole thing is carried along by the energy and that ear worm, whimsical, jaunty melody being continually repeated. Prince is still in The Cross finger-wagging mode though, chastising his flock - in a playful way - for desiring wealth and material objects over love and God. ‘She spent her last penny on a Jack Benny album full of stupid jokes no-one got, oh ohhhhhh’ ‘Don’t be fooled by your greedy heart/Might be the devil in disguise’. Acutely self-aware, Prince hides his fears of encroaching materialism in his life and the influence of what he perceived as ‘evil’ or Satan himself behind playful psychedelia and surrealism. There’s a wonderful deep voiced vocal hidden really deep in the mix where he sings the whole tune very flippantly. You need to listen very hard to hear it. Get the headphones on. Like Train, Prince may be stretching himself here to emulate Lisa and Wendy’s soundscapes. They had already expressed their desire to leave by this point, but had been persuaded to come back at Prince’s bequest by Alan Leeds. But their time was up - Prince knew they had to go. And he would be the one to end the relationship. No-one walked out on him. And yes, ‘First you want a little/ Then you want a lot’ may be directed at some folk in particular. Just a guess. It all, mostly, means something with P. each song was a communication to an intended target. So, maybe a bit of bitchiness dressed up in the intended target’s own clothes? Yeah, I’m probably reaching here. But, maybe not.
5. “Blanche” Well. Here, we get Prince as raw as he allows himself to be when the tape’s running - stripped down, bare, nude, just his talent, energy and a basic idea for a hard, grinding guitar groove. Rarely heard anything like this from him before, sonically. Drums are interesting - like they’re recorded in a different room from the rest of the tracks. A palace’s bathroom, it sounds like. It’s P’s version of straight rock, but seriously fucking funky - and it constantly steps up a gear with a minor key change that blasts adrenaline through the listener’s veins. Vocally, he’s as loose as Bowie’s trousers in the Let’s Dance video - improvising over a groove tighter than Bowie’s trousers in Labyrinth. P’s letting off steam, wisecracking to Susan, or whoever is present, with some genuinely amusing, infectious improv. ’Blanche you aint been driven till u tried my ride!’ ‘My name is Stanley! Aggggghhhhhhhhh! Yeah!’ ‘My name is desire! Blanche - u got me on fire! Aooow!’ And it’s just that riff, continually, hypnotically … married to that astonishing key change where he ups the tempo. Don’t expect much melody here - it’s all about the groove. Some deep, dubby bass runs late in the song too. A breakdown arrives, then some ridiculously funky bass takes over the groove - not quite slap funk, but not ‘Minneapolis rumble’ either. Somewhere in between, sounds bloody amazing. And that riff just keeps going. Then …it slows dooooooown. Doooooooooowwwwwwwwnnnn. The groove goes with it. That weird P mating call again. ‘Agggghhhhhh!’ Then he says: ‘Ah fuck it, Blanche.’ We hear studio laugher at the flippancy of it and the song is over. Wow. Why’s Prince decompressing like this? Well, again, it was Sunday and he’d just recorded Sign O The Times earlier. Yes, another marathon session where P felt he couldn’t walk away under a cloud, so he’d simply catch a good vibe before leaving the studio. What a groove to just casually create after recording one of the greatest singles of the 80s. GOAT.
6. “Soul Psychodelicide” Soul Psychdelicide is unrecognisable in comparison to the better-known Graffiti Bridge take, but we already know that. This is The Flesh getting seriously hypnotic and heavy. This earlier version is not in distribution amongst traders as a 60 minute epic, but this 12 minute edit of what is a truly monster groove kicks off with Prince shouting ‘Ice Cream!!’ at the top of his lungs and a wildly thunderous drum motif kicks in - which P will shout for numerous times throughout to recalibrate a Godzilla groove that’d make the dead on another planet dance. It’s so heavy ... deep, masculine funk - performed live in a nice hollowy studio room, probably his house studio ... it has a live warmth. Recorded so incredibly well, it sounds HUGE. Drumming is outrageous - especially that drum roll hook, it actually sounds like Michael B lol, who must have been just a boy at the time. Would actually have loved to hear Michael play this one. It’s just outrageously, obscenely funky. P’s crafted a song from a jam much the same way he did with It’s Gonna Be A Beautiful Night - presenting this one in three distinct acts - the first, a steely, huge m muscular groove with P shouting that ‘Ice Cream!’ motif when he needs to hear that astonishingly heavy and thunderous drum roll. He fucking loves it, clearly. Then it gets ... funkier. Stankier. Heady. Go well with a smoke, I’d imagine. You will pull an ugly face. Many times. Sounds like Wally and/or Brooks vocalising, doing a wildly head-nod-worthy Bobby Bird-esque ‘Soul Psychodelicide - it’s a hell of a thang’. Prince shouts ‘Keep singing!’ as Lisa and Wendy do their drone bot cold but deeply funky ‘Soul Psychodelicide’ dead voice repetitions. It’s Teutonic, Germanic, ice cold. With some ‘Beautiful Night’ horn riffs thrown in, which likely originated here. Then the third movement - Eric appears from nowhere, and fucking takes over this shit. Ripping though every funk scale he knows, ascending to groove heaven, serpentine squeals, outrageously in the zone shit. By this point, around 8 minutes in, the groove is Hypnotic. ‘It’s a hell of a thing’ Wally and/or Brooks repeats again. And, you’re seriously fucking spot on Wally and/or Brooks, it is. It’s a hell of a thing. Then, the conclusion to the third act ... P breaks the groove down. A new Eric motif plays and the bass n drums take dominance - keeping it outrageously tight for about two minutes. Then, P demands just guitars and drums - nothing else. He gets it. My God, it gets low and weird and nasty. ‘Get dat horn blowing’ P interrupts and then everything kicks in once more - EVERYTHING. A weird ghost horn - added in the studio afterwards no doubt - follows the lead line. A deep, dubby bass groove now dominates. Then, all the vocals burst in - ‘Soul!’ ‘It’s a hell of a thing!’ Prince screams ‘Ice creeeeeam!’ And that fucking awesome carnivorous, room-eating, universe-silencing drum roll busts in again ... along with, extremely late in the day, the first blast of synths. ‘It’s alright’ P shouts. Then, a showy Vegasy horn turnaround and Prince casually quips ‘On the one’. The band stop dead, tight as Jaws’s arsehole. Fucking hell, what just happened?
7. “The Ball” ‘Welcome 2 the crystal ball. Got any notions about the way things are? Give em up and come on y’all! BALL!’, the preacher in P extols. After asserting that this is a Brand New Thing, Prince extends an invite for his flock to a new Uptown, ushering willing partygoers to a ‘Crystal Ball’, a wondrous event/place free of ideology, dogma and preconceived notions of reality on how things should be. Whereas ‘Uptown’ was street, urban wonderland and Paisley Park a hippyish, flowery playground, this is an etherial slip between the folds in reality, a secret party that perhaps can only exist in one’s own imagination. Where everyone reflects the joy you feel yourself, one nation of believers under your groove. He’s also telling us that this is NEW by advising listeners to give up their notions of how things are - in the intro - to let it sink in a while, to give it time, to swim deep in what’s to come, not to judge, that gratification will be the reward for getting down with this cosmic new power generation vibe. Along with the soon-to-be-mentioned When The Dawn Of The Morning Comes and Walkin In Glory, this is Prince finally moving out of his period of minimalist, skeletal deconstructionist modern pop - and even his habit of stripping down his most joyous creations to bare bones (Big Tall Wall/Forever In My Life). It’s bubble bath of crystalline, airy, light psycho-funk, carried along with an elastic, addictive bassline, bouncy, tribal drums and weird guitar distortions that keeps the groove grounded as finger cymbals punctuate and Lovesexy-esque sound effects abound from the Fairlight - filling in the gaps while Eric and Atlanta are granted freedom to stretch out over an airy, slightly discombobulating wide open space of a groove. ‘Ball! Ball! Ball! Come on!’ Those incomparable Prince harmonies gasp throughout the spaces in the groove. It’s insanely busy … but spacey, not claustrophobic at all. Joyful. Fun guitar solo deep in the mix is great, thunderous, ruckus, celebratory. Buried like treasure. Plenty of room for everyone to get a piece in this jam - to think this was recorded just a few days after the thunderous jungle funk of Soul Psychedelic shows a near bipolar shift of moods, that funk can suit any emotion. This vibe is heavenly and pure - crystalline funk - while Soul Psychodelicide is a sonic hard-on, reeking of sweat and sperm. Both are Prince recreating that JB vibe he was obsessed by in his youth with his own idiosyncratic touch, but song tunes are different sides of the same coin. While SP is the sound of the night, this is a future soul song bathing in some creator being’s shining light, a synthetic gospel stomp that sounds like it was recorded in a cathedral floating in the sky, carried through the clouds on a prism of rainbow light. ‘Keep singing y,all! Keep singin’ y’all!’ Although this song would have fit in with the original 3CD Crystal Ball set lyrically and thematically, I think this would still have been the odd man out - even in that wildly eclectic set. Then again, it would maybe have served as a better opener than Rebirth Of The Flesh. Although perhaps not the better song. It’s stadium avant-funk, a proto - Eye Know, obviously - and essentially the first track recorded for Lovesexy before the idea of Lovesexy even existed - with a joyous, most-complex-than-it-sounds ‘All for one, one for all, fun for everyone’ multitracked P chant recycled from Sheila E’s Romance 1600, which in turn was nicked from Alexandre Dumas. But you knew that I’m sure. In this track, we’ve entered the church of Prince, where no worshipper is expected to sit down - dancing room only. Excuse me while we kiss the sky. It’s Prince in the heat of his latest evolution. Animals struck curious poses.
8. “Adonis And Bathsheba” Remember the Flake advert from the 80s? The girl in the bath eating the chocolate bar, inside a Greek palace, exotic fruits, ancient pillars, marble floors? It’s a ready-made video for this outrageously sumptuous, grandiose, harmonically generous declaration of utter desire.Another example of a song that no-one else but Prince could write or perform without looking a bit foolish. Eric is majestic accompanying on one of Prince’s most erotic - but not filthy - lyrics about the sheer madness of unbridled lust. ‘There is no bed, how do they…? They decide to stand!’ Then that thousand-strong choir of Ps gliding though the lushness, observing this passion from over like a flight of angels - it’s exhilarating, heavenly, almost too much. Susan Rogers thought it OTT, saccharine even - but I think that’s missing the point. It is OTT - but P is aware. The guitar lines halfway through attempt to anchor the track back to Earth somewhat with some abrasiveness, but as soon at that harmony hook kicks in again, it’s beaten, not matter how hard he fights himself by shredding like fuck. He’s trying to match the all-encompassing intensity of such lust - perhaps an emotion so deep that it’s unrecognisable to Susan, and, most people? To these ears, it sound like the type of love that only exists in art, the purest love, without the darkest elements of jealously, envy, possessiveness or eventual parting through death. What love could, and should be. And, undoubtedly, that final screaming guitar note ringing out is clearly him coming lol.
9. “Forever In My Life (early vocal studio run-through)” A jaunty bar-room piano riff greets us here, but it’s a rope-a-dope - the instrument disappears completely after the first bar - gone. It was only there to tease, to throw you, playing with expectations. Or Susannah’s expectations. Because I can imagine her being very surprised by what she heard next. Suddenly we get a warm, full, grounded declaration of maturity and commitment. Lovely, almost Carpenters-style harmonies (this time, in time with the music lol) but that jarring, slightly sharp ‘la la da da da da da daa’ hook serves to wake us up - there’s angst here, still. But the performance is genuinely emotional and honest - persuasive. I believe him. And I don;t always believe Prince - at lot of P is performance. And that’s great, but when you get a genuine piece of raw emotion like the first half of this song, it can be uncomfortable intimate, like it wasn’t really intended for fans’ ears. The skeletal proto-groove of the SOTT movie’s long jam on Forever In My Life is here, as we all now know, and is underpinned by a slightly threatening bassline - it’s certainly not as carefree in vibe as the first half. There’s foreboding. A storm on the horizon. It’s not a ‘jam’ as such, it’s turbulence. A sonic indicator that all is not carefree in this relationship. It’s two parts are complementary though, which is probably how he felt the relationship worked. Lovely acoustic plucking sweetens the dark tone of the last minute of this ‘jam’, reminiscent of the way he put the same hook at the very end of the album version. And talking of that version, it’s obvious to me that it’s like a negative print of this version - similar to what he did with Big Tall Wall …. he stripped all the sweetness and life and warmth out. All the love. Made them as dark as he could musically. He was sending a message to Susannah, I think, by including that version of FIML on SOTT. He knew she would listen to it. That she would expect to hear that beautiful, warm song she heard that beautiful morning. But instead, she was confronted by something with all the life stripped out of it. He was telling her how he now felt. It was a clear - and cruel - message from a man who communicated in music.
10. “Crucial (alternate lyrics)” A more guitar-heavy version of Crucial with different verses, it’s that simple. The exact same melody all the way through, but with new lyrics replacing most of the verses. ‘I couldn't watch your body for fear of losing/ the burning heart of my sweet baby’s perfume’ Not, it’s not the greatest lyric. ‘I aint saying anything till I cop/Our bodies entwined/ That’s when you'll be mine/ Always, for all time/ Cruuuuucial’ The sitary hook is still there, but with added distorted guitar, much in the same way as Adonis and Bathsheba, building up in the background to dirty up the sweetness. The ‘knock at the door’ lyric and drum tap-tap-tap is intact and the second verse’s ‘Ill give u mine if u give me urs’ line is too. But the bridge is different completely: ‘Everything ur mama taught me/ Babe u gotta tell me so’ ‘Ur body is a river/I want every drop/Cruuuucial’ After the second chorus, that astonishing ‘la la lah la la lah lalalala la laaaa’ harmony is still there in all its glory, an stunning an accomplishment as it ever was, then the guitar solo takes us on a journey. This is Crucial, so it’s beautiful - rawer than Crystal Ball 1997, but not demoish, this is a full production. The solo essentially just mirrors Eric’s horn in the boot version, or rather Eric echoes it. The song fades at about the same spot as the CB version. This isn’t essential, but I’m glad it’s here - it’s a revealing insight into P’s editing prowess and the ability to spot lyrics that need polished. It’s good to know that he didn’t think everything he did was great first time.
11. “The Cocoa Boys” The U Got The Look synths sound crystal clear, like the leaked version forming a bed of harmony that lets throughout the song, but this is a much fuller-boded version of the boot. Extra parts, more muscular rhythm, a deep rumbling bass dominting. This is finished. But … I’m not sure about it. I’m not big on P’s vocal delivery here. He’s trying to narrate a story about an imaginary battle of the bands, but it’s just not very compelling lyrically. P also sounds very nasally at times. And, no, he doesn’t ‘mouth’ the horns here - they’re real here. It’s a big production - he’s spent time and effort on it. The chorus is catchy, fun and funky but - to these ears - is too busy with instrumentation and crowd noises. Those nice very high-pitched harmonies are the end of the chorus are very ‘avant purple’ though, love that element. Some fans will absolutely love this as it sounds utterly unlike most of P’s official output. It’s clearly experimental, and some of it really works, and the bass is outrageously good, interesting horns that change constantly - maybe too constantly. It never seems to nail down a form it’s comfortable with. Perhaps too many ideas for one song - certainly, like Witness 4 The Prosecution 2, much of it was later recycled. The Detroit Crawl gets a shout out, then the Wooden Leg. But this is not the great battle of the bands P thinks it is, I don't think. The Kangaroo also gets a mention - the Cocoa Boys are clearly great dancers. But so what? Near the end, we get the ‘All the boys, and all the girls, you are the new kings of the world’ chant from Lovesexy, which is interesing. ‘Every king must share his prize!’ Prince shouts near the end. ‘Everybody share the prize’! The crowd chant. The band go silent. Then they come back in with an outrageously funky groove and complex horn layering, then …’You are beautiful! It’s gonna be a beautiful night!’. Yes, the chorus from the SOTT song. So many parts, great parts, but to me it doesn’t make a cohesive whole. You might love it though so don’t get downhearted.
12. “When The Dawn Of The Morning Comes” Think this particular P vibe - The Voice Inside and Trust. Mad, frantic, breathless percussion, only with a full voiced main vocal ghosted by a falsetto version. ‘There’ll be joy and fun, love and joy, when the dawn of the morning comes!’ he exhaults, following by the chasing falsetto about a second behind. Its weird and wonderful. The falsetto ghost sometimes even jumps ahead, like a hype voice, Bobby Bird or something, anticipating and then calling on P’s main ‘head voice’ vocal. Its gospel in roots, but this is an avant purple production. Really uptempo, sparkling fanfare synths throughout, mad computer percussion floating in and out the mix. ‘There’ll be so much happy/When the morn' comes’ Not really deep lyrically, but it doesn;t have to be - the message is simple, it doesn;t need dressing up. It’s joy in enlightenment, in faith, in Tha Lawd. Musically, it’s fascinaitng. Clearly all P. Midway through, a huge gospel rave-up kicks off, huge multitrack vocals invade fro the stars, P harmonises with a million versions of himself, countless handclaps keep the groove, syncopated beautfully with the insane rhythm, like hummingbird wings, …. then a magical drum and percussion section offers a release, a euphoric rush. P then takes the guitar out and puts in a little funk then … an astonishing break of light as the percussion once again comes to the fore … Christ this is good. A real natural serotonin high. Then, a small build-up with warm synths, chorus some in again, a breakdown to the drums and precision - very Voice Inside/Trust (but better than Trust - richer, deeper, more interesting things going on, it’s a sonic trip). You genuinely want this groove to last forever. ‘Everybody lets work!’ P says, sampling himself. Then a huge church organ blatantly steals the show by holding down a chord for about 30 second while the rhythm builds up louder again. It gets bigger, bigger, bigger, bigger…still holding down that damn chord ‘Open ur eyes!’ P shouts.’Im gonna … I’m gonna be there when the dawn of the morning comes! Every day!’ ‘What a day! What a day! Oh what a day!’ And …groove to fade. Mental and wonderful. The feeling you get when you fall in love, not with girl or boy, but the heavens above … this, like the Ball, was Prince turning into something else before Susan Rogers eyes. What a trip.
13. “Witness 4 The Prosecution (version 2)” Again, like Forever In My Life and Big Tall Wall, P returns to a previously recorded and ‘finished’ Susannah song and strips all warmth out of it, leaving an ice cold groove that’s clearly a proto-Bob George (and used for parts for a few other future songs). It stands on its own feet, but the fact that P would go on to strip away its component parts for many other tunes makes it fascinating for Prince afficados. Genuinely interesting Hot Thing-esque interplay between the the guitar/synth and Eric’s horn in the middle break. ‘If I couldn't be near you/ If I couldn't feel U/ I wanted what was yours/ But now I just want you to care’ This relationship is over, he’s saying. It’s a post-mortem. Prince was trying to figure it all out the only way he knew how, through his music. ‘I will go to the electric chair!’ - a slice of raw electro funk that a young Trent Reznor would have dug, with many inspired ideas floating in around in the mix.
14. “It Be’s Like That Sometimes” A big, huge playful, laidback, languid groove kicks in and immediately you feel you’ve known this tune all your life. It’s an instantly likable and cosily familiar song, readymade for radio stations in the summer. a light, slightly strained (deliverately), high falsetto verse talks about how life isn't all its cracked up to be sometimes but ‘It be like that sometimes’. Second verse has got a great guitar accompaniment that’s thrown in the mix, some great jazzy playing, genuinely great. Awesome chord change into the chorus, but the initial big airy groove remains constant through the song, he just paints on top of it. Lovely middle eight with shimmery xylophone/piano rainfall break, a scream then a verse - all sang in the same scratchy high end pitch as he does on Rave Unto The joy fantastic - might be too screechy for some , but it’s cool - then a yeah yeah yeah breakdown to the end. Deep P voice ‘It be’s like that sometimes y’all.’ Nice flamboyant piano solo at the end and it fades. Its great - a simple but infectious big groove embellished tastefully and artfully. A potential summer hit that never was.
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Awesome words as always!! I am curious how The Ball ends though! |
"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 |
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wonderful stuff. a true poet of our times. i wish some other people (they know who they are) valued this man's wonderful input as much as we do. |
Fantastic review 23. Thank you!!! |
You make a great CASEy. I will MILITANTly stand behind #23. |
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Fantastic review
Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
Listen, this says something about this guy 23. He gets banned unjustly. And instead of taking his ball and going home, he takes our wants and desires into consideration and finds a way to still contribute...for us members. Not the Mods...not the Founder. But for us. He’s a hell of a good dude, and maybe it’s he who should moderate and they should be the banished ones. Thanks homie. I appreciate you. 💪🏼 |
I hereby request the Estate give Number23 advance access to all upcoming super deluxes. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
Moonbeam said: I hereby request the Estate give Number23 advance access to all upcoming super deluxes. Same! Why did I think this was going to be a piano ballad? Coulda swore I read that on PV or some shit. |
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Looking super forward to the next disc review....this is just superb |
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thank you |
You put into words things I’ve only felt, but couldn’t describe about P’s music. Thank you for this. Love finding out more about the unreleased tracks, but what really gets me is how you describe his music. So great. Looking forward to the next! [Edited 9/14/20 20:57pm] |
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- He was just saying that Number23 is just passionately discribing the music in such an appreciative way by most here want more (read the comments). By the way I'm now even more curious to hear that wonderful newly discribed "The Ball" & ''Soul Psychodelicide". So I say, again and again, thank you so much Number23. You make me really happy ! And I'm not alone. What a wonderful divine way of trying to put this unheard music into words what my ears need right now ! Peace to all. -
[Edited 9/14/20 23:31pm] "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
Thanks Number 23 You really get it. And it seems you are from the UK with the Flake reference . I recognize your writing style but can't quite place you. You are a known music journalist formerly from melody maker or nme? |
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this so makes me want to hear it already... I often have different opinions than others about songs, so I'm wondering if I agree with #23's wonderful review! Paisley Park is in your heart - Love Is Here! |
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'It Ain't Over 'Till the Fat Lady sings' sounds like an almost Tom Waits style excursion - very curious about that one! Hundalasiliah! |
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What a review Number23...'as good as the best Prince Album. U have this ability that a Violet reality person will never get....the difference between talent writing such review and love4one@nother sharing ur xperience and mediocrity and cowardice..u know what I meam....iam here on this forum for guys like u ...not for the little guys..u know what I mean take 2 # peace |
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. Oh, damn. I love when he mimes the horns with his voice |
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Great review...pity people like Number23 get treated so poorly whilst some other 'unnamed' people get all the recognition...been a long while since I've read about Prince's recordings with such expression and obvious knowledge...no sucking up or cock waving required!! Thanks Number23 - looking forward to the next cd's review!! You should be writing the liner notes!! [Edited 9/15/20 0:26am] |
Another fantastic review. I can almost hear the music When The Dawn Of The Morning Comes sounds amazing. From these reviews my most eagerly anticipated songs are Big Tall Wall 1 Eggplant When The Dawn of The Morning Comes It Be's like that sometimes Promise 2 be True |
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“When The Dawn Of The Morning Comes” sounds amazing |
I'm glad the mimic horn version is in such fine quality - it'll be great to hear both. |
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Thank you so much for your reviews Number23, they are truly appreciated:) cannot wait till this set is released! |
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. Is it possibile to ask number23 if the real horns replaces the mimic horns or if the mimic ones are removed? Thank you.
(and — btw — it is very silly and childish that I have to ask this to someone that ask this to number23 instead talk directly with number23. Is it possibile to re-intergrate number23? the ban was a big error for everyone) |
"Vocally, he’s as loose as Bowie’s trousers in the Let’s Dance video" may well be my favourite line in an album review ever. Lester Bangs, eat yer heart out. |
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This really is a great read. Who is this Number 23? Love these reviews...I have waited forever for Train and the description is exactly right....loved his vocals on this. How on earth did he accept Mavis' released version??????? |
Thank you, Number 23! VOTE....EARLY |
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. This is my second favorite Vault track, and I'm looking forward to hearing this slightly different version. I know this has been released on "Crystal Ball" in 1998, but the longer guitar version that is, as of now, just available on boots, is spectacular. . However, I've always wondered if the lyrics were just a "first pass"... because they were pretty lame, to be honest. The newer lyrics in this version intrigue me. Can't wait to hear how it all comes together. |
I dig this Number guy's style when it comes to describing music. Thanks for the review if you are reading this! I am all aboard the hype train reading these |
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CD6 / LP9&10: Vault, Part 3
1. “Emotional Pump” THERE’S no fucking about here. No intro, no setting the scene or establishing a mood. Foreplay is a hit of the drum, like a slap on a newborn baby’s arse to hear it cry, then … a carnivorous, predatory groove enters, crunching and chewing everything in its path. Soon, colours and shades will be layered on top of this cylindrical bassline like sweet (too sweet perhaps?) icing, but for now it will just not fucking give up - it’s alive. Sentient. A conscious entity. Willed into existence by murky voodoo and locked into the drums like Fort Knox. It’s Godzilla gobbling up Larry Graham then puking him out, just absorbing the nutrients - it’s what thunder would sound like if there was such a thing as musical heaven. This song just won’t work on low volume - it’s been created to fill a room to justify its existence, it’s no quiet storm, or headphone masterpiece, it was born to be noticed, brash and bold - this ain’t wallpaper. You don’t play this studying for your exams. Like it said on the original vinyl pressing of Ziggy Stardust: ‘Play this record loud’.
Impishly confident with his creation, Prince actually kills everything stone dead just a few bars in, gives two more cheeky hits on the drum, holds off for an extended pregnant millisecond, then gives another single snare strike and we’re fully launched into an all-dials-up-to-ten cavalcade of rock hard, playful funk - sweetened, perhaps too much to some ears, by the song’s very poppy synth hook - a slinky little ear worm that’s quirky and light enough to carry the nimble, elastic vocal when it enters. Initially, the lyrics might strike one as leith froth,transparent, without metaphor, random, throwaway even - purely there to carry and accentuate the groove. ’Last night I was lonely/ Not for anyone/Not just for anyone/Last night I wanted you/Stars outside my window/Counted them just for fun/Counting just for fun/I counted 2002’. That’s clearly a lie too, because Prince was never that patient - would have taken at least half an hour to do that.
Yet, just when you think it’s simply another monster groove, funky but vacuous, Prince throws a curveball with the chorus, a masterful rhythmic octave jump with a double tracked falsetto, the silky voice in the highest harmony dominating. It’s pure avant pop. Too much ‘pop’ for some, I’d guess, but I’m not an emotionally dead brick of a human that can’t see beyond their protective layers. And now, for the second verse, the lyrics get interesting. We’re going somewhere. ‘I want you/Not just sexually/But in the way a mother wants a child’ which, obviously, harkens back to the cosmically incestuous emotional proto‘If I Was Your Girlfriend-esque plea of ‘I wanna be your brother, your mother and sister too’. All Princes happening at once. And now we get literally cosmic. ’To Mars I want to go/Pardon my dying soul/ It’s all in black n white/Darling can you take me tonight?’ Literally to Mars? Surely not. Does he mean ‘men are from Mars’? It was certainly a big book that year. And the song was written for a female - the divine demigod Joni Mitchell - after all. Prince would never have cooked her a dish with no meat to chew on. Then again, maybe not. Chorus again: ‘Emotional pump, you are mine/Concentrate on u is all I have to do/You make my body jump/You make my body cry/Emotional pump’ Now, I’m from Scotland - and ‘pump’ means ‘fuck’ here. And maybe Joni’s been to Scotland too. I’m not surprised she wouldn’t sing it, what is essentially a song about Prince searching for depth in throwaway sex - much like how I’m searching for meaning and an insight into the human condition in an 80s funk jam.
Also, Joni Mitchell was 45 at the time. The music was just too sprightly, bright and bouncy. She’d have looked ridiculous. Putting melancholy lyrics over 80s balls-out party music was a trick he often deployed at this point, but it wasn’t quite ‘enough’ for Joni. it would have been interesting to hear her emote when the groove eventually lightens at the midpoint, breaks down to purely bass and drums, and Prince’s low speaking voice appears high in the mix - he clearly wants us to listen. It’s the song’s core - and suddenly it’s revealed why he intended it for Joni: “I notice the rain more than I used to/More than I used to/When I had u always, always/Always know u’re gone/Now I'm so blue/Bluer than I used to/Bluer than I used to be.” Now, the chorus reemerges into different weather, a different, more resolved, less frantic key. Same tempo, just a different shade cast over it. Blue, perhaps, in Prince’s head. Then, we hear a single synth notes, signifying a musical break ahead, and yes, a synth bass kicks in, adds an all-too-brief new energy, aided by delicious little sci-fi synth notes being introduced that strike on the beat, but don't get in the way of the bass. Then, unexpectedly, a Caribbean-type percussion line dominates the top end as a deeper, groovier bassline kicks in. And just when that new groove is evolving organically underneath the chorus line, it’s all over. Less is sometimes more. And certainly, two days later he recorded Housequake - casually reinventing funk by deconstructing it to its marrow, beyond the bones, right to the molecules and quarks of rhythm. Shut up already, 23. Damn.
2. “Rebirth Of The Flesh (with original outro)” Vive la Revolution! Here, Prince introduces the world to his new band, a ‘reborn’ version of The Flesh ensemble, in his mind. That’s how I see it anyway. The lyrics, again to me, are a clear swipe at his former band members, much in the way ‘Dez, do you like my band?’ cuts deep in the (tragically) unreleased Extraloveable from the 1999 sessions. ‘We are here, where are you, everybody dance to the New Boogie Crew’ Who were, essentially, Sheila E’s band. ‘Rebirth of the flesh/Is that your door?/Let ‘em in y’all/ It’s a brand new day.’ Reborn, refreshed, re-energied, this song is a dark exorcism, ridding and purging himself of the bright pastel colours, ruffles and whimsy of Lisa and Wendy - he’s that little bit funkier, nastier and grounded. He’s rediscovering his groove. As an aside, it really must have been an odd time for Dr Fink as the last man standing. It might be Prince, but I’ll say it’s Fink so that last sentence isn’t a non sequitur, but a foreboding, haunted house rogan line keeps the vibe the right side of sinister - and there’s little joy in that ‘Soulalacolia’ hook. But this is life, this is real - and just when Prince fans who have heard the boot version a million times expect the chorus to kick in after that line, on this Deluxe edition we are treated to a secret, a two line diss that was edited out the version we know: ‘Hell, you could be my wife/But all you do is steal/Muthafukka/Muthafukka/Rebirth of the flesh/Is all over you’
Deliberately cut it out of the Camille version, perhaps the line finally reveals it’s about the Revolution after all, and he thought it too strong for release. To me, it’s quite obvious though - ‘Rebirth of The Flesh’ itself meaning ‘Listen to How Funky I Am Without Any Of You’. ‘We are here! Where are you?’ ‘Dez, don’t you like my band?’ While playing all the instruments himself of course, lol.
It’s remarkable that P also recorded Rockhard In A Funky Place during the same session. Both songs have a similar playful, yet slightly ‘off’ vibe, humour and front is being used as a defence mechanism, a testing ground for stretching out after being constrained. ‘It ain't about the money, we just wanna play’ also foreshadows similar comments in Play In The Sunshine and Everybody Want What They Don’t Got, which strike out at greed corrupting musicians - all to playful soundscapes. Unlike, for instance, the unreleased Old Friends 4 Sale, where the music directly correlates to the regretful mournful lyric. Souliacoulia, indeed. Anyway, the ending you’re all so keen to know about. No, it doesn’t sound ‘spliced’. Just slightly different to what we’re used to. The playground chant ‘la la al la la’ winds things up, leading to a Partyman-esque ‘Hey! hey! hey! hey!’ chant, then a scream, a fuzzy guitar solo builds, then an extended extra line from the version we know - nothing significant - and the song finishes up on a group ‘Hey!’ So put your concerns aside, it sounds wonderful.
3. “Cosmic Day” Prince had a truly cosmic day once, back in 1978. Sporting a huge afro and bumfluff moustache, and yet to put out an album, he had been playing acoustic guitar nude in his bedroom when the mattress took off like Dorothy’s house in The Wizard of Oz and Prince was hurled on a voyage through space. During this voyage, Prince was privy to experiencing past, present and future all at one time - he saw that nothing really exists and we are simply the imagination of ourselves on a three dimensional plane of existence which absorbs and allows itself to be moulded by the galactic glue that we call time. Infact, Prince actually split into three separate physical demential entities of himself within this single splice of spacetime. And within this fold of the universe, where he perceived all things at once, Prince heard hundreds of hit songs from the future - thousands and millions of years into what see call ‘future’ - songs that he remembered when his bad landed back on Earth.
I’m not making this up - you’ve all seen the evidence. Incase Prince thought the incident was all a dream, he was handed a photo of his three selves while they flew through the universe on his 1978 bed. P liked the picture so much that he included it on the gatefold of his debut album For You - a sly wink to himself that everything that was to follow this debut was already inside his head. All the songs, thousands of them lined up, ready to be freed from his mind. And ‘Cosmic Day’ is the song about that journey. ‘There’s nothing strange/I’m not deranged’ Of course it happened, have you heard Prince’s back catalogue? Are you telling me one man did all that without seeing the future?
The tune itself? In terms of tempo and structure, it’s a foreshadow of his reworking of the 78/80 ICNTTPOYM - but with a very heavy, distorted guitar carrying the tempo along with a heartbeat pound drum track, no fills, rolls or frills. Just thump thump thump, all the way through. It’s designed as an adrenaline rush, a journey through the cosmos, where nothing is real, where you realise you’ve been wrong about everything, that you’re lost inside mathematical gas. And that you should just relax and accept it. The very heavy (for P) riffing is sweetened by the lightest, most feminine vocal he’s ever put on record. It’s a delicious dichotomy - especially as the tempo speeds up and the chords crunch hard and dark for the second verse - it’s warp speed 10 through the galactic barrier, with the foetus from 2001 singing along with the tra la la las. Double tracked Thin Lizzy guitars are hinted at during a little coda … leading to a cool, groovy breakdown where the drumming keeps pounding that same basic beat, no fills, rolls - just that heartbeat pound. Pound Pound. Boom. Boom. Things get hazy. Chemicals kicking in. Euphoria turns to confusion. You need help, advice. Then: ’Look outside your window….’ He gets what he needs - his heart keeps pounding. Boom boom boom. ‘Theres nothing strange, we not deranged’. Then, we kick back into gear, in a new key, as a foreboding, sinister solo builds as the tempo accelerates once more … this is Prince’s bed spinning around eternity, every song he’ll ever create attaching itself to his physical embodiment’s neurones. The music of the spheres. Downloaded. ‘Theres nothing strange’ he repeats. “We’re not deranged’. He’s not trying to convince himself now - it’s realisation. It’s the royal ‘we’. It’s all about his mind. He’s simply saying ‘I’m not mad, y’know. Reality is pretty strange and we can only perceive what we’re allowed to.’ Then, ‘We only want every day to be a cosmic day’. He’s enjoyed the experience. It’s not psychedelic. It’s real. It’s reality. Prince is being a honest as Kurt Cobain in In Utero here. Every day of Prince’s life on Earth was a cosmic day.
4. “Walkin’ In Glory” I remember begging my dad to pay £3.50 to rent Steve Martin’s movie Leap of Faith in 1992. I loved The Jerk and thought I’d be getting much the same vibe. My dad knew better, taking one look at the garish Hallmark card font and shite tagline ‘Real miracles, sensibly priced’ and ushered me outside, empty handed. Why am I telling this story? Well, I eventually managed to see that movie years later, where SM played a fake preacher (well, they’re all fake of course, but SM is conscious of his mass deception and hasn't convinced himself of his own bullshit, like a lot of preachers have). It was terrible, of course, but a few nights ago when I switched on CD3 of SOTT Deluxe to hear this song, I was reminded of Steve’s lame performance - because Prince adopts a similar persona here - only he pulls it off. Not only that, Prince in full preacher mode - and you’ve never heard anything like it - does it with APLOMB. Seriously, you have not lived until you have heard Prince in full throttle Southern hellfire and damnation, gnashing teeth and wailing souls, gimme ALL YA money persona. It’s satirical - it’s too funny not to be - but, again, the dichotomy with Prince - he’s also utterly sincere. Purifying the lie at the core with genuine passion and belief.
So, right away, we are lunched into a manic-tempo, gospel chords and organ stabs, car chase percussion and full throated declarations of ‘Glory, glory!’ All Prince’s vocal weapons are deployed here, and it’s staggering hearing it all at once - falsettos, screams, moans, shouts, yelps, croons .. all sounding simultaneously chaotic and yet in perfect harmony. ‘Aggghhhhhhh YEAH! Ooooooooooh! Glory glory! Walking in glory!’ Yes, When The Dawn , The Voice Inside and even Trust explore similar ground … but not like this. It’s next level, Prince actually GETTINg the sound in his head on tape. I think it must have scared him. One man? All this? Come on.
He kills his girlfriend off first. read into that what you will. ’Woke up this mornin/Looked all around/Couldn’t find my baby/She nowhere to be found/Think Tha Lawd took her/Late the other night/Took her off to heaven/Well people that’s alright cuz (chorus kicks in) She’s walkin’ in glory!/Her soul is saved!/She walking with Da Lawd!/Whose son he gave!/ So we don’ fall to damnation/This world is fading fast/Got that from Revelation/And you got to say his name y’all/Way up on the hill/Ask him for forgiveness/The lord will show you where/My baby was a sinner/But she knew the meaning of love/Now she walking with dat man up above/Walkin in glory!/Her soul is saved!’ FUCKIN TESTIFY, P!
At the end of each line, a Flavour Flav/Bobby Bird type hype man is urging P on, questioning him, mimicking his vocal. It’s hilarious, you imagine this voice waving a towel on stage to cool Preacher P down as he dances, pounds the floor with his heel and slams his fist into a Bible. What a vocal, seriously. Absolutely stunning - I’ve not heard anything quote like it for P. The fact there’s still surprises like this in the Vault is … well, you don’t need me to tell you that Prince was a genius. He knows this music, and utterly owns it here - he ‘is’ this music. It’s so frantic, daring, imaginative and genuinely outrageous.
It’s all anchored by that Southern-style lead vocal intensity, almost parodic like I said, but passionate enough to have deep gravitas. It’s a hugely ambitious song, a thunderous sounding revivalist stomp across an altar on fire … and just when it reaches peak intensity - at about 1 min 30 seconds in lol - P gives us some beautiful angelic relief with a stunning solo falsetto proclaiming ‘You got to say his name (key change, tempo builds again) ‘Jesus! Jesus! Glory! Glory!’ It’s beautiful - and I’m far from a believer in angry Judeo Christian skygods. Then, we hear the first stirrings of ‘Lovesexy' euphoria - Prince loses it in rapture, almost talking in tongues now ‘Who whoo whoo whooooooooooooo!’
This is explicit Lovesexy, raw and uncut. No ambiguity, no metaphor. This is Seventh Day adventist, true word of the Bible, true faith and belief in the son of god, so rootsy. Now we get a sincere dedication to Jesus admit a frantic huge sci-fi gospel groove : ‘No-one can match his glory/Or his fame/Hell mend ya/If u don't know his name/I want to tell his story/ Each and every day!) Then a synth appears that sounds like a sax - synthetic but great. A wild, twisting tornado of a solo, deeply distorted and fed through various pedals. It’s then the turn for the organ, and everything breaks down to the roots, and we are truly at church now, P manically talking in tongues, doing insane things with his diaphragm and vocal chords, things we’ve never really head before in such unfiltered form, in rapture to his Lawd, full of righteous flame. A strange juddering bass then rolls in, like a massive truck rolling past, woooooom, then an exhilarating ’YAS YAS YEAHHH!’ sends the ‘sax’ away.
Now it all breaks down to organ and we hear, intimately, slowly, P getting his breath back (as intimately as it gets with a million multitrack Princes intoning ‘Help me Lord/Don’t let me lose my way’ It’s truly beautiful. A true soul confessional. And an astonishing display of vocal virtuosity. ‘Look at me!’ he shouts in the outro.’I’m freakin!’ He knows how insane it is, what he’s just created. ‘Shaka shaka shakaa!’ He’s loving it. Telling ‘fools to get out of my face’, that ‘it’s allright!’. Even a shout out to ‘Big G y’all!’ Hilarious. Deliberately so. Then, he sings to us - ‘One day we’re all going to talk in glory’.
It’s Lovesexy, thats all I can say. Finally, an organ reenters the mix as everything breaks down, it’s warm, woozy. ‘It’s alright y’all. Big G y’all. We gon walk!/One day you’ll see/my soul will be free/And I’ll walk in glory with the Lawd/HELP ME LAWD/DON’ LET ME LOSE MY WAY/I WANT U EVERY DAY!’over A single chord high synth. Then, a dramatic, hard-sung, like his voice at the end of The Cross: ’GLLLOOOOOOORRRRRRRRRRRRRRRRRRY!’ and it’s all over. My God, I think I’m a believer.
5. “Wally” Oh ma la de da. Oh malady. Oh my sickness. Well, at least we now know that the tape speed of this legendary leak was completely wrong. Prince’s voice is pitched in the middle of his range with a slightly affected, questioning, delicate bend on the vowel sounds - insinuating a questioning, confused, vulnerable tone. But no effects or artificial pitch shifting. ‘Do you know what malady means in French?’ Prince apparently asked Susan Rogers while recording the original, now lost, version. Before she could answer, he replied: ‘It means sickness.’ And if too much richness makes us queasy when overindulging, Prince was determined to make us sick here - throwing the kitchen sink at this stunning confessional to make us puke. ‘He’s ruining it’ Susan thought, watching him add the layers upon layers. He wasn’t ruining anything - he was trying to make us feel as sick with the richness of love that he had once felt. Oh malady. Oh ma la de da. As a production, it’s ridiculously sumptuous, over the top and mad professor territory - echoing the accusations levelled at the lesser, more flowery, less deep, less ‘arty’ Adonis and Bathsheba.
Wally is not only magnificent, but the artistic highlight and emotional core of this entire set. including SOTT - especially if you buy into the P and Susannah love story. The eyes are the window of the soul. And men rarely want their friends to see how they really feel. Wally comes in wearing funky shades. Prince talks parties and women, fronting, small talk: ‘Lets go out like we used to do’. He asked to wear Wally’s glasses - not because he believes those are the freakiest glasses he’s ever seen, but because he doesn't want Wally to see the truth in his own eyes. Not at the start of the song anyway. But when P puts those glasses on, and still sees the world is the same sickening place, realises that he still feels the same, that he can’t hide behind shades forever, the song reveals itself as a true soul confessional: “Wally, what am I going to do? She was the only once I could talk to.’
'O my la de da'. The refrain, the sickness, is beginning to swell. The horror of loneliness grows and P layers the vocals on to drown out the pain, the emotion, make it huge, make it shadow over everything. ‘Its too late for sympathy/Whatever will be will be/I’m going to a party and if I don't find somebody/Somebody will find me’ Then, puncturing his own bravado straight away: ‘What am I gonna do? She was the only one I could talk to.’ My god, the little falsetto harmonies on darting in and out that wee line are heartbreaking. So clear now, not muffled at all, we hear everything as it should be in this ridiculously widescreen creation - there’a full movie here. And it’s certainly a Hollywood production. Big emotions. Huge brush strokes. A conventional blueprint Eric plays with wildly - he knows what’s expected of him here, and delivers one of the most outstandingly emotional and exhilarating performances I’d heard him magic into the world.
Then, trembling, The Voice…’Wally? Where’d you get them glasses?’ A muted horn enters. P, hushed, humbled: ’Those are the freakiest glasses I’ve ever seen.’ Then, the universe explodes, Prince’s heart opens up completely, we see everything. ‘Oooohhhh oooh ohhhhhh, what am I gonna do?!’ He takes it to the stars, all the pain, all the hurt, all the regret, the agony of existence - all channelled through the core prism of earthy musical beauty.
And now, we see the real meaning of the glasses. He envies how Wally views the world, carefree, easy, cool. They didn’t work for Prince. He still felt the sickness. A loneliness beyond description. So he’d drown it out - bring in Eric Leeds to arrange one of the most dramatic explosions of sound he’d ever put to tape. P is even generous enough to through in three false endings as crescendos - with the ‘actual’ fade outro sounding like the ultimate emotional sucker punch in this quality. Susan might think this doesn’t have the power of the original, and I trust her judgement generally - so can only imagine what the original was like. Oh my la de da. Oh malady. Oh my sickness. I think Susan misses the point of those layers, to sicken himself, to drown out the pain - t’s utterly heartbreaking, devastating and just as distressing and honest as Susan believes the original was. Making himself sick with indulgence. What a fool he’s been. ‘What am I going to DO?’ P realises he’s been fronting all his life - and, making small talk with Wally, realising how pathetic it is to fake emotions to real friends. Who’s fooling who? ‘Wally, what am I going to do?’
A huge, magisterial, final solo is awarded to Eric before P straps on his guitar for the final flourish, busting a hole through the material world and taking it to the ether ( and we hear him shouting something like ‘Dont go!’ deep, deep in the mix during the solo here, something not audible in the leaked version. The third crescendo peaks, and then it’s gone. A moment in time. Lost, like tears in the rain, to steal a phrase.
As you can probably tell, I genuinely believe this is one of Prince’s greatest works. And just like he took away the colour and warmth and richness from his other ‘Susannah’ songs (Forever In My Life, Big Tall Wall etc), here he took the skeletal, dark original (I”m imagining, don’t bloody orgnote me for it when I return, no-one has ’Wally 1’) and made the most elaborate, huge, exhilaratingly high octane emotional release he had ever created - took everything at his disposal and laid it all on. Phil Spector would have dropped his jaw in awe. And probably would have shot P for eclipsing him. But that bullet might have been wasted - part of Prince had died. He’d never be this open again. At least, not on anything officially released. His heart, for all intents and purposes, was closed. Younger women awaited, those he could mould and reinvent in his own image. This song is a wake for the Prince that was. Things would never quite be the same again.
--- the remaining songs will be reviewed tomorrow --- |
My god, that description of Wally is SO SO good. I’m going to need 23 to do this for more of Prince’s work. So great. Thank you again. |
How raw and honest! Thank you 23!!
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seconded. after finding the leaked version to be lacking i'm hoping to get a new perspective with the clean, stereo version provided on the set. number23 has made the case, now the song just has to deliver for me. |
Hell yeah, Number23! Glad to see the outpouring of love for "Cosmic Day", a song that I adore. Your description of "Walkin' in Glory" has me really excited as well. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
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thank you again |
Thank you sooo much for the review! You really know how to turn up the apetite for this set even more The HQ-er formerly known as krokostimpy. |
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I'm anxious to read all this, but I'm not going to. I will after. I want to go into listening to it without any prejudices or opinions other than I'm ready to hear it. No doubt Number23's offered some tasty bits. I shall partake later. " don’t really care so much what people say about me because it is a reflection of who they r." |
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- Can it get any better ? Thank you so so so so so much dearest Number23. I (somehow) "heard" the music - thanks to your perfect articulate imagination wide spreaded in beutiful words. - This needs to be a sticky ! Actually all three sides of what he did need to be -
"The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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WOW...your review of "Wally" leaves me speechless
No matter what Susan said, i too think this second version of "Wally" is among the best works he's ever done. |
Mate - these are stunning reviews. Until tomorrow then... THANK U got Prince? |
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Fantactic reviews/descriptions...getting harder and harder to wait for the 25th!!! Looking forward to tomorrow's reviews/song descriptions!! |
These reviews from Number 23 are something else. If you're reading this; I'm loving your work . Recommending the Flake advert from the 80's as a video for Adonis & Bathsheba is gold and if I wasn't in work whilst reading the Walkin' In Glory description I'd have been on my feet applauding |
TrivialPursuit said: I'm anxious to read all this, but I'm not going to. I will after. I want to go into listening to it without any prejudices or opinions other than I'm ready to hear it. No doubt Number23's offered some tasty bits. I shall partake later. Might be a good plan. There's a few spoilers here that probably would've hit me like a truck if I heard em sight unseen. No regrets but hey. |
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I don't know what I'm more impressed by ...the thought of listening to these songs or Num23's writing of it...
1. “Emotional Pump” THERE’S no fucking about here. No intro, no setting the scene or establishing a mood. Foreplay is a hit of the drum, like a slap on a newborn baby’s arse to hear it cry, then … a carnivorous, predatory groove enters, crunching and chewing everything in its path. Soon, colours and shades will be layered on top of this cylindrical bassline like sweet (too sweet perhaps?) icing, but for now it will just not fucking give up - it’s alive. Sentient. A conscious entity. Willed into existence by murky voodoo and locked into the drums like Fort Knox. It’s Godzilla gobbling up Larry Graham then puking him out, just absorbing the nutrients - it’s what thunder would sound like if there was such a thing as musical heaven.
Look at the highlighted parts of his writing...holy fak. This dude or dudette is a great writer. I know the song well so the descriptions highlighted hit me...totally captured it. My goodness.
Now onto the rest....truly hope we hear Num 23's review of the remaster which I'm totaally dying to hear and the live set. |
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- Emotional Pump - "Also, Joni Mitchell was 45 at the time. The music was just too sprightly, bright and bouncy. She’d have looked ridiculous. Putting melancholy lyrics over 80s balls-out party music was a trick he often deployed at this point, but it wasn’t quite ‘enough’ for Joni. it would have been interesting to hear her emote when the groove eventually lightens at the midpoint, breaks down to purely bass and drums, and Prince’s low speaking voice appears high in the mix - he clearly wants us to listen. It’s the song’s core - and suddenly it’s revealed why he intended it for Joni: “I notice the rain more than I used to/More than I used to/When I had u always, always/Always know u’re gone/Now I'm so blue/Bluer than I used to/Bluer than I used to be.” (...) Then, unexpectedly, a Caribbean-type percussion line dominates the top end as a deeper, groovier bassline kicks in. (...) - ...fuck it Number23: this needs to sound amazing at least...
Would've loved to see Joni's face when she heard it for the first time. She and Lisa & Wendy are great friends. They must've talked about it. I can imagine the laughs... Now I'm so fucking curious it hurts. - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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Yes, but is it the one that we've heard leaked? Or is this something else? The description surely sounds ike it.
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It is a corrected version of what we already had. |
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I see, so the leaked version is sped up...
I'll slow it down and listen |
Bring back Number23. |
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" don’t really care so much what people say about me because it is a reflection of who they r." |
BRING NUMBER 23 BAN CASEY! |
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Bring back Number23.
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JoeyCococo said:
I see, so the leaked version is sped up...
I'll slow it down and listen The leaked version was too fast, in mono and sounded shit. I could still tell that it was a great song. Can't wait to hear it in all it's Glory. |
Once I do a Camilie "Remastered" fanmix, I might edit out the additional line but keep the "Hey" ending. |
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Yup, Wally I believe should be in the key of E, not the key of F with the sped up vocals like the original bootlegging of this track would lead us to believe |
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Yes, slowed down...I think it is a lot better. However, I think I need to hear this properly to get the effect Num23 describes. |
Seems I'm back.
Remember ‘If I Was Your Girlfriend?’ You know. That one where Prince wonders why his relationships with women can’t quite reach the depths of intimacy and openness of female/female friendships? Well, IIWYG comes across like 'Give It To Me Baby!' compared to this exploration of the female gaze. And this time, P actually portrays himself as a woman. Who, indeed, needs a man. To make her/him feel like a woman. Yeah, I know - Prince did write and sing the line: ‘I’ll never open my legs again for a man who’s insecure’ for I’ll Never Be Another Fool, but even that tune is still just dipping its toes in the deep, uncharted waters of women’s sexual power play. Here, he dives head first into the nature of female desire itself.
Musically, it’s not revolutionary. And certainly no IIWYG. It’s playful , fun, mid tempo pop funk, led by a jazzy drum line that’s prominent in the mix - locked in tight with a deceptively simple bass line that teases hard on the high points of P’s full voiced, non-falsetto verses, sang ‘straight’ with a touch of sassy falsetto on the last word of ‘I need a maaaaaan’
Initially, that final word is delivered coyly, quietly, in a soft falsetto. You think he’s bottled it, realising he's gone too far, but then, unambiguously in his full ‘street’ man’s voice, he forcefully intones, groovily, almost rapped: ‘I need a REAL man’. We’re left in no doubt. He needs a man. Then ‘I need a MAAAAN/I need a M-A-N/ A Real man.’
Somehow, upon reading this song title for the first time, I expected it to be a ballad. And, somehow again, I imagined it as a huge synthetic production, an Emancipation-style declaration of adoration and worship - exposing the ultimately plastic nature of the relationship though the shallowness of the chosen instrumentation, whether consciously or subconsciously.
Prince famously described his songs as children - but not all babies are born equal. Nor are they equally favoured by their parents. The truth is, the vast majority of Prince’s children were orphans, works either never intended for an album or simply not making the cut or fitting the the vibe of the work’s concept/mood. But that doesn’t mean they were unloved - Prince had a number of children that he continually pulled out of his crowded basement - he was the anti-Joseph Fritzl, in a way - and paraded them in front of other creators like a true proud parent - or, some might suggest, pimp - to see who would want to adopt them as their own. The most famous example of these favoured orphans would likely be Wouldn't U Love 2 Love Me - a child Prince even offered up to everyone who walked past, even Michael Jackson at one point. Michael rejected this orphan child, likely because it was too old - around eight at that point. What? Come on, I’m drawing an analogy, nothing more.
The poppy horn line hook works well too. Then, the second verse, same nonchalant, aloof, guilt-free falsetto: ‘I understood that she went to your house/Thats ok cuz I blew up her car’ Killed her pet mouse would have rhymed better, but like Paulie in the Sopranos would say, ‘It is what it is’. Then the chorus line again, becoming more addictive every time: ‘Hey, hey what can I say? I’m just a jealous girl’ As good as it is, I just can’t see Bonnie Raitt - or Susannah Hoffs for that matter - revelling in such sociopathy.
You have to wonder how many forays into reggae were tossed in The Vault. Like Jealous Girl, this was originally recorded in 1981 and perhaps even marks P’s very first flirtation with Jamaica’s second top export. Again offered to Bonnie Raitt, this one is actually not inconceivable, with a bashful smile of a lyric, about not caring how badly he’s being treated in a relationship (always the victim, P) because he’s so in love with the perpetrator.
The music of TSILABUF evokes a blissful yet naive state of mind, like the ‘Jealous Girl’ but the other side of the coin. Whereas she was the perpetrator who didn’t give a damn, P is the victim who similarly doesn’t care. Which makes the dark lyrics about all his mistreatment all the more delicious and tasty.
P sings warmly about a living hell in the verses - he accepts it utterly. ‘You do me like my enemies do’ It all builds up to the hook line and song title ‘But there’s something I like about being your fool’ - before that wonderful, simple but swinging, nine-note instrumental horn hook, which also serves as the song’s chorus.
[Edited 9/17/20 8:23am] |
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MISSION ACCOMPLISHED |
Appreciate the support! |
Welcome back KARES and 23. |
Cheers! And I also must thank the mystery orger who just sent me the original 'Wally'. Wow. It's the greatest thing Ive ever heard. [Edited 9/16/20 18:18pm] |
"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 |
Holy crap!!!! Who is this guy? Or gal?? What amazing reviews!!! Promise 2 B True has me salivating!!!! |
Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
Welcome back. So glad to see you two around again. "Like the drummer said, you got to die." |
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Great reviews man! I am holding off on any further preview tracks so I can listen in full to the set without too many suprised already listened to, so these well written descriptions are great for getting a good feel without hearing them haha |
Number23 said:
Cheers! And I also must thank the mystery orger who just sent me the original 'Wally'. Wow. It's the greatest thing Ive ever heard. [Edited 9/16/20 18:18pm]  welcome back! Looking forward to re-reading your reviews while listening to the release - fantastic stuff. |
THIS |
...Ummm...What?
I can't tell if this is sarcasm or not. Are we talking the fabled Susan Rogers first take of "Wally"? |
Transformed1 said:
...Ummm...What?
I can't tell if this is sarcasm or not. Are we talking the fabled Susan Rogers first take of "Wally"? The one with the banjo??? |
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Number23 said:
Cheers! And I also must thank the mystery orger who just sent me the original 'Wally'. Wow. It's the greatest thing Ive ever heard. [Edited 9/16/20 18:18pm] Original, said to be erased Wally?? |
Number23 said:
Appreciate the support! A tombstone of text? Well, shit, bury me in it and let the worms feast. Thank you for your reviews! "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry |
Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
JoeyCococo said: Number23 said:
Cheers! And I also must thank the mystery orger who just sent me the original 'Wally'. Wow. It's the greatest thing Ive ever heard. [Edited 9/16/20 18:18pm] Original, said to be erased Wally?? Not bloody likely. |
Good that you are back!! |
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Number23 said:
Cheers! And I also must thank the mystery orger who just sent me the original 'Wally'. Wow. It's the greatest thing Ive ever heard. [Edited 9/16/20 18:18pm]
I don't know if u are talking about the 1st erased supposed 1st take of the song , anyway...Howe did not find it he said in the vault, this not means that others (collectors) don't have it in their vault collections for any kind of reasons....can u tell us more about it ? ( I don't talk about sharing it of course). Thanx [Edited 9/16/20 23:51pm] [Edited 9/16/20 23:53pm] |
LoveGalore said: JoeyCococo said: Original, said to be erased Wally?? Not bloody likely. Why not? (I'm not the "mystery orger" so stop spamming me people...) But anyway... It's been real... Signing off. Neversin. O(+>NIИ<+)O
“Is man merely a mistake of God's? Or God merely a mistake of man's?” - Friedrich Wilhelm Nietzsche |
I was just kidding with the Wally comment, didn’t think it was that subtle a joke! If someone had sent me the original version I’d have posted more than a sentence on it - I gave ‘And That Says What’ about 40 paragraphs lol |
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It nice to see u back......Welcome Back.....we need more guys like u here ...not the others...u know what i mean !
PS 4 u......on this box set ...whay is the most amazing trax.....Only One !
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Anyways, good to have you back here! Love your reviews so keep them coming |
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JorisE73 said:
Well, remember what happened the last time when I brought up Neurotic Lover’s Bedroom ... PS: Will answer your orgNote soon, have quite a few to respond to (most asking for Wally, that’ll teach me). |
Neversin said: LoveGalore said: Not bloody likely. Why not? (I'm not the "mystery orger" so stop spamming me people...) But anyway... It's been real... Signing off. Neversin.  |
SuperHero said:
Anyways, good to have you back here! Love your reviews so keep them coming Cheers! |
love2thenines2003 said:
It nice to see u back.....Welcome Back.....we need more guys like u here ...not the others...u know what i mean !
PS 4 u.....on this box set ...whay is the most amazing trax.....Only One !
Promise 2 B True. Like I said, there’s better songs, but it’s my favourite. Utterly infectious. |
Neversin said: LoveGalore said: Not bloody likely. Why not? (I'm not the "mystery orger" so stop spamming me people...) But anyway... It's been real... Signing off. Neversin. Take care. Thanks for all you have contributed here over the years! Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
Number23, if you don’t mind, could you comment on the overall sound quality across the discs? Does it sound consistent? I can imagine some tracks may have been degraded more than others due to deterioration, etc. Anything stand out? [Edited 9/17/20 1:13am] Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
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number23, the real horns in Cocoa Boys replaces the mimic horns or if the mimic ones are removed? Thank you. |
HEYYYY! WELCOME BACK!!! "I like to watch." |
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Welcome back guys! AOM! (All Orgers Matter) or some such |
. Prince didn't write "I’ll Never B Another Fool". It's one of the songs he appropriated from Sandra St. Victor. Also: "The additional music was created around a sample of Michael B. and Sonny T.’s track "Vinyl Blister" (from their sample cd Funky-ass Loops)." . https://sandrastvictor.ba...legs-again . http://princevault.com/in...other_Fool . © Bart Van Hemelen
This posting is provided AS IS with no warranties, and confers no rights. It is not authorized by Prince or the NPG Music Club. You assume all risk for your use. All rights reserved. |
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and btw, that little joke about MJ not being interested in Prince's 8 year old child...a little old for MJ...GOLD ...hahah GOLD! It was pretty late when I read it but I laughed out loud...had to read it again just to laugh again..
Oh God. Num23...need you to keep going...want to hear your thoughts on the remaster itself AND the live stuff. |
[Edited 9/17/20 10:08am] VOTE....EARLY |
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The horns on the chorus of "I Need A Man" are the same he's used for "Controversy" since about 1986, especially on the Hit n' Run Tour during that medley that starts with "Raspberry Beret." (Think Sheridan.) " don’t really care so much what people say about me because it is a reflection of who they r." |
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btw more time passes more the song's review from number23 are longer. I think the "Strange Relationship (1987 Shep Pettibone Club Mix) [2020 Remaster]" review will rival the James Joyce's Ulisses |
themanfromneptune said: btw more time passes more the song's review from number23 are longer. I think the "Strange Relationship (1987 Shep Pettibone Club Mix) [2020 Remaster]" review will rival the James Joyce's Ulisses I'm happy with that! The remix intrigues the shit outta me so I'd love to read it. |
Reminds me of Last Heart. |
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TrivialPursuit said: The Pre-chorus arrangement in general reminds me of something, but I can't think of it. Song Of The Heart? |
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TrivialPursuit said: The horns on the chorus of "I Need A Man" are the same he's used for "Controversy" since about 1986, especially on the Hit n' Run Tour during that medley that starts with "Raspberry Beret." (Think Sheridan.) He used the horn part on live versions of Kiss, too (Lovesexy Tour, and SOTT Tour iirc). NPG Radio:
https://open.spotify.com/...63VlWY6m1A |
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" don’t really care so much what people say about me because it is a reflection of who they r." |
JoeyCococo said: and btw, that little joke about MJ not being interested in Prince's 8 year old child...a little old for MJ...GOLD ...hahah GOLD! It was pretty late when I read it but I laughed out loud...had to read it again just to laugh again..
Oh God. Num23...need you to keep going...want to hear your thoughts on the remaster itself AND the live stuff. That joke is gonna make Casey mad. You might get band again. He punched someone in the face once for making a MJ joke. |
Romeoblu said: JoeyCococo said: and btw, that little joke about MJ not being interested in Prince's 8 year old child...a little old for MJ...GOLD ...hahah GOLD! It was pretty late when I read it but I laughed out loud...had to read it again just to laugh again..
Oh God. Num23...need you to keep going...want to hear your thoughts on the remaster itself AND the live stuff. That joke is gonna make Casey mad. You might get band again. He punched someone in the face once for making a MJ joke. Hey, I spent three paragraphs building up a vague orphan/Vault songs analogy so I could crack that joke. And by joke, I mean projecting humour as my coping mechanism to filter the horror of reality so I can function and delay my inevitable acceptance of the fact that waking up and opening my eyes is utterly absurd and pointless. |
themanfromneptune said: btw more time passes more the song's review from number23 are longer. I think the "Strange Relationship (1987 Shep Pettibone Club Mix) [2020 Remaster]" review will rival the James Joyce's Ulisses I’ve noticed that too, it’s not deliberate. Probably the weight of expectation. I might need to drag the Shep remix analysis down from a mountain on stone slabs and start a new religion. |
Number23 said: themanfromneptune said: btw more time passes more the song's review from number23 are longer. I think the "Strange Relationship (1987 Shep Pettibone Club Mix) [2020 Remaster]" review will rival the James Joyce's Ulisses I’ve noticed that too, it’s not deliberate. Probably the weight of expectation. I might need to drag the Shep remix analysis down from a mountain on stone slabs and start a new religion. And so commandeth the Lord Prince to his SHEPherd, giveth the glow stick unto my funk. Thou shalt put thine foot on the rock. I’ll stop now.  [Edited 9/17/20 15:13pm] Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
Moonbeam said: Number23 said: I’ve noticed that too, it’s not deliberate. Probably the weight of expectation. I might need to drag the Shep remix analysis down from a mountain on stone slabs and start a new religion. And so commandeth the Lord Prince to his SHEPherd, giveth the glow stick unto my funk. Thou shalt put thine foot on the rock. I’ll stop now. [Edited 9/17/20 15:13pm] Far more relatable than the whole Judeo Christian guilt-trip pish. |
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i won't be able to go to sleep tonight unless i know what number23 thinks about Strange Relationship (Shep Pettibone Remix 1987) |
Damn, thought the rest was going up tonight? |
Nevermind, reban 23. |
Need...more...reviews.... "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry |
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I'm getting reports that Strange Relationship (1987 Shep Pettibone Club Mix) [2020 Remaster] was so gobsmackingly good and life-changing that, upon hearing the track, Number23 fainted in a display of sheer amazement and ecstasy, thus leaving him unable to give a proper review. |
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where is the rest???????????? |
Apologies folks, will get the rest up when I get some time. Had a few work-related things to write up last night, org reviews unfortunately don’t pay the bills. The set might even leak today and, finally, this thread can sink like a stone. I see a few questions about the Shep remix - it’s good, but not vital, doesn’t reinvent the song or anything. He brings out a few buried vocal elements that are interesting, production is huge and pounding, like you’d expect - definitely club-ready for 1987, has Shep trademarks all over it. But it does sounds like 1987 - a few dated house effects that even the Art of Noise would have found a bit garish. It’s pleasant enough, my head was bobbing, my lips pursed, chin jutted. It, thankfully, plays to the strengths of the chorus - but there’s at least 15 original songs from this era that could have taken its place. And no doubt there’s many more in the Vault that we don’t know about. Maybe saving them for the Super Duper Deluxe Deluxe edition in 2027. This seems superfluous, but it’s a nice way to go out I guess - on a big upbeat vibe with that killer, twisted chorus to the fore and The tune’s grinding, repetitive outro groove accentuated by Shep. He understands the song but, well, it’s not Prince’s vision is it? |
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- "where is the rest????????????" ...In Number23's mind. Impatient stans ! Give the guy a well deserved break Still 8 days before it all hits us. - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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- Again, I bow ! Great wrintings !! Just humble thanks for letting us hear the music through words without sound. - I even printed them, so I can later on put 'm next with the releases liner notes. I will listen to the entire set, and then again with your reviewed opinion next to it. - You're the best (Prince) review writer I read so far. Don't be stingy on the words - let it all go with that flow, no matter what others here might say. You got your own audience now. - T-shirts with "I (heart) N°23 P-Reviews" will be up next... lol
- "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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I just called my local shop where I ordered mine but they didn't get it today sbut they're certain it'll be in the next delivery next tueday, so i'll have it then the 22nd. |
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Thanks.
That explains why we got access to the 1999 SDE downloads the Friday before. . |
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Yeah, it'll arrive physically in some record stores today - be surprised if everyone here hasn't heard it by Sunday. |
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Number 23, great stuff! Your reviews and the podcasts are helping drag us closer to the finish line!  |
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JorisE73 said:
Do you think it has something to do with the fact that he's an asshole 98% of the time? If you follow your facts up with an insult, the herd isn't gonna take kindly to it. |
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[Edited 9/18/20 5:21am] |
25 years is a full grown adult! Platforms change in that time, so I cannot understand why he'd hold a grudge against people that have nothing to do with why he was made to be upset. |
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This is right ....he is informative & interresting , of course iam a fan and i'd like to see unreleased stuff he heard for free everywhere if this was possible , but as a fan too ...i thank him only for his knowledge that sometimes he is agree with himself to share (just a small part).....this is very informative but because of some assholes here thru the years ...i can understand his defensive behaviour (IMO of course)& his desire to see elsewhere than this place....but keep quiet.....u have a violet reality knowledge here who will inundate you with his knowledge, I am sure that many will appreciate! [Edited 9/18/20 7:08am] |
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Podcasts?? Pls tell me where I can find these? |
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JoeyCococo said:
Podcasts?? Pls tell me where I can find these? I was referring to the official podcast about the making of SOTT, now that I’m rereading it I see how it looks like I meant Number 23 had a podcast. Sorry for the confusion! |
JorisE73 said:
Well, one day I aspire to get to one of these other platforms where the bullshit is minimal and the appreciation for Prince and his body of work is high. Until then, it's abusive posts and suspicious moderators. 🙃 |
JorisE73 said:
I don’t think that’s true. Duane Tudahl has been part of both SDEs, and in one of the latest podcasts, has the title of Official Prince Archivist, or something along those lines, when he’s introduced. He goes on to say WE presented the material in chronological order...so he’s being consulted for liner notes, track lists, etc. I think the estate and Howe knows the fans are very informed, and have information they may not, or know better than them how everything should fit together. |
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if he thought anything of us he wouldn't have tried to say that we can sequence Dream Factory/Camille/Crystal Ball on Spotify with the release of this set, because that's 110 percent false. A whole song is missing from streaming services, and that's not even getting into all the various nuances that make those album configs albums in the first place like different mixes, which versions, etc. |
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lustmealways said:
if he thought anything of us he wouldn't have tried to say that we can sequence Dream Factory/Camille/Crystal Ball on Spotify with the release of this set, because that's 110 percent false. A whole song is missing from streaming services, and that's not even getting into all the various nuances that make those album configs albums in the first place like different mixes, which versions, etc. Yeah that was a really goofball statement for Joy in Repetition alone. Who the hell wants to make a playlist where an integral song they feature on the fucking podcast segues out into another unrelated track?? I would've taken JIR with an intact intro over a 12" mix of Wonderful Day tbh. |
LoveGalore said: lustmealways said:
if he thought anything of us he wouldn't have tried to say that we can sequence Dream Factory/Camille/Crystal Ball on Spotify with the release of this set, because that's 110 percent false. A whole song is missing from streaming services, and that's not even getting into all the various nuances that make those album configs albums in the first place like different mixes, which versions, etc. Yeah that was a really goofball statement for Joy in Repetition alone. Who the hell wants to make a playlist where an integral song they feature on the fucking podcast segues out into another unrelated track?? I would've taken JIR with an intact intro over a 12" mix of Wonderful Day tbh. Edit: segues FROM an unrelated track, I mean. |
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. I would take a proper JIR over almost any track on the SD. It's my holy grail of Prince songs. Paisley Park is in your heart - Love Is Here! |
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12 inch mix of wonderful day, get the fuck outta herreeeeeee. same with mr pettibone and his strange relationship. |
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If you have Google Play or Youtube Music you can upload the The Black Album CD into the system and you will be able to play the tracks alongside the other streamable tracks and make the complete playlist. That's what I do. I only use streamable sites I can UPLOAD into. |
jaorecords said:
If you have Google Play or Youtube Music you can upload the The Black Album CD into the system and you will be able to play the tracks alongside the other streamable tracks and make the complete playlist. That's what I do. I only use streamable sites I can UPLOAD into. And how do you address the wonky volume levels and transitions and incorrect edits?? |
I used COOL EDIT PRO to adjust all the 98 CRYSTAL BALL tracks to (-5db) to bring them closer to the sound and level of the other tracks. I also have done many edits on a variety of tracks to edit them down in various ways. I then upload all those new mixes and edits back into the system and add them into various playlists as needed. I did that with all his albums from 1978 through 1991 (with the exception of Purple Rain and 1999) so I was able to bring the volume up to match the post 1992 releases. Otherwise it's a very uneven listening experience. |
Just a small note - there is a real song called "Warden In The Prison of Love". It's sung by Margie Cox from the MC Flash sessions, 1988. I'm a huges fan of hers (from her Ta Mara & The Seen days)... my guess is the phrase was one Prince recalled from Jealous Girl and then used again for that song. And "Warden" is the best track from the MC Flash recordings that I've heard (in my opinion).
P.S. Loving your reviews! Can't wait for next week!
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Just curious, Who is number 23 and why should I care? Is this just a random fan writing a review? [Edited 9/19/20 3:36am] |
icecreamcastle777 said: Just curious, Who is number 23 and why should I care? Is this just a random fan writing a review? [Edited 9/19/20 3:36am] I know, overwritten garbage by an unknown obsessive who clearly finds it had to fault his beloved Prince’s dodgy castoffs. Can’t believe his thread has had 25,000 views, guy probably wishes he had some podcast or YouTube channel to promote. |
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Still waiting, impatiently. |
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Number23 said: icecreamcastle777 said: Just curious, Who is number 23 and why should I care? Is this just a random fan writing a review? [Edited 9/19/20 3:36am] I know, overwritten garbage by an unknown obsessive who clearly finds it had to fault his beloved Prince’s dodgy castoffs. Can’t believe his thread has had 25,000 views, guy probably wishes he had some podcast or YouTube channel to promote. You said it, not me. A certain kind of mellow. |
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- Which is of course a very wise thing to do of him. - I really do hope, dearest NEVERSIN, you'll come out with your extensive analysis. I'm absolutely super curious. - Reviews like both yours ànd Neversin's are what is so much needed (around here). The posibility to be able to read those deeper meanings of the music seen or noticed by others, is basically why I am here for.
Most internet articles on new releases, even magazines and other readings out there don't live up to the indepth knowlegde on Prince's music or whatever concernes his life. Prince's life and catalogue as well as all his creative side projects are so complicated (to most review writers). I can't focus or easily get annoyed with the first wrong fact or typo in a song title or whatever's presumably written in an article without checking the facts first (I fully understand Bart sometimes). Yes of course there are (many wonderful written) books. But a good written review on a hot topic keeps the vibe alive and the comprehension more relevant. - Let's hope Neversin finds a way to deliver his great thoughts. -
"The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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- beloved dodgy castoffs... LOL - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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Blessed are those who believe ... the kingdom of heaven belongs to them ... the kingdom of the Vault Prince ... I am less certain ... I do not think Neversin will come to preach the good word (IMO) ... persecution is never good ... the princely word cannot be proposed ... !
Amen |
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Mr Num 23...come on...need the rest. I have checked every couple of hours since yesterday:) |
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Enjoying the reviews so far
Hope you'll review the utrecht show too. I dont really get why the bonnie Raitt songs are here - shouldn't they be on originals 2? (Not that I actually want the originals series to keep going).Either way, nice to have them. [Edited 9/19/20 16:00pm] |
JoeyCococo said: Mr Num 23...come on...need the rest. I have checked every couple of hours since yesterday:) Sorry Joey, be tomorrow before I get round to it, sometimes life ain’t always the way. Just four songs to go, shouldn’t take long. However, I think I’d jump the shark doing a song by song review of a live album - no one needs that in their life. Two word review of the whole concert - fucking awesome. I’ll be returning to the shadows until I get Parade Deluxe early lol. |
funkbabyandthebabysitters said: Enjoying the reviews so far Hope you'll review the utrecht show too. I dont really get why the bonnie Raitt songs are here - shouldn't they be on originals 2? (Not that I actually want the originals series to keep going).Either way, nice to have them. [Edited 9/19/20 16:00pm] It’s a bit of a gray area, but I think the concept of Originals is about releasing Prince’s versions of songs that were given to other artists and subsequently released with their vocals. Bonnie Raitt never released these songs. I actually am all for the Originals series to continue! I think Originals was the most exciting Prince release in over 20 years and astonishingly would serve as an awesome introduction to Prince for newcomers. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
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I dont mind if it continues though I'm not that fussed if it doesnt. It just needs a bit more thought I think. I.e compiled according to eras, not just all over the place. And please, a better cover! |
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Num23...but pls comment on the sound of the remaster.. |
JoeyCococo said: Num23...but pls comment on the sound of the remaster.. He already did. He's gutted. |
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Let me read part 1 again |
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Can you point me to where he commented on the sound? |
Number23 said: icecreamcastle777 said: Just curious, Who is number 23 and why should I care? Is this just a random fan writing a review? [Edited 9/19/20 3:36am] I know, overwritten garbage by an unknown obsessive who clearly finds it had to fault his beloved Prince’s dodgy castoffs. Can’t believe his thread has had 25,000 views, guy probably wishes he had some podcast or YouTube channel to promote. Okay... So a random Prince.org fan writing a review. Gotcha. |
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Nevermind, I did find some comments from Number23 elsewhere about the sound being quite good. Super to hear it!! |
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- What's the difference between a damn good fan review, and a professional music journalist with basic Prince-info errors ? - Now you try it!
- [Edited 9/20/20 0:52am] "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
Vannormal said:
- What's the difference between a damn good fan review, and a professional music journalist with basic Prince-info errors ? - Now you try it!
- [Edited 9/20/20 0:52am] Keep drinking you're kool-Aid and pay me no mine. I couldn't care less if it's a run of the mill Prince.org fan, or journalist. I'd rather not read reviews about Prince music I'm gonna buy. I'd prefer no one try to persuade me to like, or not like my upcoming Prince albums based on their own personal opinions and unstable theorized assumptions. I like the excitement and mystery of listening for myself and coming to whatever conclusions on my own - not from other people's indoctrinated coaxing, but hey, that's just me. You do you though. . [Edited 9/20/20 6:37am] |
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Reading someone else's opinion does not mean my own must change. I love reading the thoughts of others but only others who are knowledgeable, preferably more than I. If it weren't for the Peach and Black guys I never would have given Purple Music another try. I had dismissed it as a repetitive exercise. Then I went back to hear some of the fantastic playing throughout after the P&B guys pointed it out. Similarly, old time critics have also bridged the gap for me to the past upon which Prince relied upon to build his musical landscapes. This is possibly why I went back and discovered so much music that Prince surely listened to growing up. |
Not caring about other people’s reviews of Prince’s music is a strange thing to rant about on a thread titled “Number 23’s SOTT Deluxe Review.” If you don’t care what others think about Prince’s music before you hear it yourself, why click on this thread? What the fuck. "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry |
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JoeyCococo said: Reading someone else's opinion does not mean my own must change. I love reading the thoughts of others but only others who are knowledgeable, preferably more than I. If it weren't for the Peach and Black guys I never would have given Purple Music another try. I had dismissed it as a repetitive exercise. Then I went back to hear some of the fantastic playing throughout after the P&B guys pointed it out. Similarly, old time critics have also bridged the gap for me to the past upon which Prince relied upon to build his musical landscapes. This is possibly why I went back and discovered so much music that Prince surely listened to growing up. What?! Purple music is prince in full groove/hypnotic mode. Total masterpiece! As close as prince got to making dance music I'd say, apart from all the critics. |
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A large quantity of Prince fans love to storm into any SOTT deluxe thread to proclaim their pressing pre-order philosophies. . "I don't care anything about this new track you're all discussing, I prefer to wait for the entire set to arrive!" . "Who cares about reviews!? Not I... I prefer to wait for the entire set to arrive!" . And btw, you do friggin' care the second you start penning tomes about how you don't care.... We're the ones who really don't care... except me of course who, you know, only cares about you not caring for the purposes of caring about unnecessary spam filler clogging up literally the most innocuous threads on the org. [Edited 9/20/20 14:09pm] |
WhisperingDandelions said:
A large quantity of Prince fans love to storm into any SOTT deluxe thread to proclaim their pressing pre-order philosophies. . "I don't care anything about this new track you're all discussing, I prefer to wait for the entire set to arrive!" . "Who cares about reviews!? Not I... I prefer to wait for the entire set to arrive!" . And btw, you do friggin' care the second you start penning tomes about how you don't care.... We're the ones who really don't care... except me of course who, you know, only cares about you not caring for the purposes of caring about unnecessary spam filler clogging up literally the most innocuous threads on the org. [Edited 9/20/20 14:09pm] Shit, I forgot if I care. "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry |
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Ohh purple joy oh purple bliss oh purple rapture! REAL MUSIC by REAL MUSICIANS - Prince "I kind of wish there was a reason for Prince to make the site crash more" ~~ Ben |
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What?! Purple music is prince in full groove/hypnotic mode. Total masterpiece! As close as prince got to making dance music I'd say, apart from all the critics.[/quote] Yp...agree. |
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- 1. You're right about that! I wish I had the patience to experience once more a new Prince album, dropped out of the blue ! But I'm way too curious and spineless, and want to be here in the midsts of the excitement, like you I suppose. 2. No, It's not about persuasion... 3. and these are not unstable theorized assumptions. Please feel free to write one, I'd like to read them. I really do, this is no sarcasm. 4. You're absolutely right to feel the excitement and mystery of listening on your own. 5. ReviewS never want to 'indoctrinate coaxing', you're absolutle free (I presume) - Don't forget, reviews a-can be very important towards sales, or spreading the news. How else are we able to discuss about this right now ? These reviews are based on leaks, that were send to journalists - with the same end result. 'Unstable', 'theorized assumptions', 'pursuasion', 'indoctrinate', 'coaxing'... (fortunately) this is not a political war, or some chinese system to fight. Peace though. - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
Is he still going to review the the last four songs? U might not like the taste, but I'm still going to stick your face in this Funk |
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Still waiting..... |
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all the best writers leave a little something something to the imagination |
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- Yeah - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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I write my own review. While I appreciate the prose will wait until I've listened myself, 3 more days ala spotify. Hope I get the cd box on friday.. |
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Probably has a writers block by now... |
SuperHero said:
Probably has a writers block by now... In a way, aye. It’s hard to drum up much creative energy and enthusiasm for the last three tracks. I thought the set would have leaked by now so was expecting this thread to be quickly forgotten - which it soon will be. Or maybe I’ve just been lazy. Truth is that I’ve had a lot of work on that actually pays and doesn’t get me grief in orgnotes lol. Big Tall Wall 2, however, is as extraordinary as it always hinted at in that muddy, recorded-through-a-wall, 12th generation leak - yet much more crunching and monstrous and carnivorous and claustrophobic-sounding in such eerie crisp clarity. The vocal harmonies here, as most of you will already know, are otherworldly. Disturbing - as they are intended to be. It’s Big Tall Wall 1 stripped of all its flippant psychedelic exuberance and its surrealistic, Paisley-tingled wackiness. The oxygen has been sucked out of every pore. The light dissipated, the blinds drawn, from day to night. This is Prince’s ‘Idiot Wind‘, only crueller. Again, I’m guessing this was re-recorded in a fit of self-pity and pique, a negative image of the original technicolour, devoid of warmth. Harsh, binary tones, the skeletal instrumentation communicating simply black and white. There’s no grey areas, no shade, no ambiguity. It’s fucking brutal. Prince openly mocks Susannah - tells her directly he’s fucking countless women but she’s just going to have to accept it, his option of having so many ‘holes’ isn’t going to stop them from ‘having fun’. She’s his prisoner, literally, and the entire song sounds like it was recorded in a brick chamber, a cell, where Susannah has zero option to leave. Sounds anything but ‘fun‘ they’re having. It’s a fucking toxic song. Twisted, hateful, sickening. But it is a thrilling insight into Prince’s shattered psyche at the time. The fact he thought twice about releasing this - as extraordinary as it is as a work of art - says everything. He didn’t want us to know ‘him’. This is the real black album - something that should never have got out. And here it is. We’re rubberneckers at a car crash. Compare and contrast with the stunning, warm, heartbroken ‘Come Home’ recorded not long after. Like the originator of the similarly-themed and aforementioned ‘Idiot Wind’, fellow Minnesotan Bob Dylan, Prince Rogers Nelson truly contained multitudes. As for Lisa’s A Place In Heaven? It’s stunning, but doesn’t achieve anything the Prince version I talked about a million posts ago didn’t. The 12” Wonderful Day is the leak with Lisa and Wendy - no doubt included so we could make our own ‘authentic’ Dream Factory tracklist. Even though we can’t really. And I spoke about the Shep remix of SR earlier too. Sounds great, it really does - massive full production, picks the best of the song’s harmonies and lays the bare bones of the tune out for archaeologists to ponder, although it’s very steeped in its era for some of the production choices. Yet, released in 87, it’d have been an absolute club banger. It understands the song, doesn’t just bludgeon it like a beat like most remixes. And, like someone else said as the last words on his final work, ‘That’s it!’ [Edited 9/21/20 16:23pm] |
Thanks, Number23! You've certainly piqued my interest! Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! |
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Many many thanks for your supremely insightful and entertaining review. I can't believe this but, I am actually more excited now than before. What is your simple take of the live album? Supreme? I was very impressed with the 1999 Detroit show's sound. Low end. How about this? |
Sounds like an otherwordly experience. |
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. Thanks a zillion, Number23. for all your observations, thoughts, and opinions. I can't believe you caught flak from some people on the Org. You went above and beyond, and I can say that, after reading your voluminous reports, I'm now more excited for certain Vault tracks than I was originally. . Don't let the lead blankets weigh you down! Keep up the good - no, GREAT! - work. . I look forward to your exploration of the Vault tracks in the "Around The World In A Day" SDE next fall! (Although, to capitalize on the divisible-by-5 anniversary, it'll probably be "Parade"...) |
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Thanks Number23! Great job, looking forward to the set even more now. |
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shall state the obvious but, after reading this review of the vault tracks, you need to get your bearings as you are disoriented... you remember that all that is in addition to the 18 songs he released that year (SOTT album, La La La and Shockadelica). A remarkable and onnce in a liftetime giant... |
Beautiful worded all of it, but I hadn't seen Wally that way. |
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- Waaw. Again, you know how to 'supremely fool around' with a Prince fan's mind in a most longing and promising way. Your writings live up to our Princely youthful wonder that we all so desperately want to relive. I'm sittign here reading it all again, like a kid that needs to pee, and doesn't want to leave the room. You're rightfully 'the man' for the last two week here on the org. Look how these imaginative appealing words are so much appreciated by most. Thank you ! Like I said before, I printed your reviews to put 'm in the deluxe LP box I ordered, just to read them again, while possibly having a greasy and most happy eargasm. - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
Lol, appreciate that Van, looking forward to reading other people's opinions when it leaks/releases, especially your own. [Edited 9/23/20 6:37am] |
Indeed |
Maybe they should Free Pro too? He was a good friend of mine back in the day and I haven't heard from him since.
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- WTF is happening with this thread : The ''Bob George Voice'' originated from Susan Rogers playing around on studio equipment It's been days since it is closed ... - "The whole problem with the world is that fools and fanatics are always so certain of themselves. And wiser people so full of doubts" (Bertrand Russell 1872-1972) |
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Very well stated. I strongly agree. |